In my review
of the Naxos disc featuring Busoni’s songs, I highlighted the
label’s ongoing commitment to exploring this performer-composer’s
output. I also questioned what we should accept as Busoni’s
most representative compositions. Ultimately I found the songs
unsatisfying fare. This led me to suggest that Busoni’s virtuoso
piano transcriptions or operas might be where his compositional
heart lay. The latest Naxos release concentrates on his writing
for violin and piano duet. Perhaps this will offer further insights
into a singularly complex yet inexplicably ignored compositional
voice.
The performances
on this disc sound to be of somewhat higher quality than those
on the song disc. Joseph Lin is a committed violinist and Benjamin
Loeb has his work cut out with the equally demanding piano part.
The First Sonata
clearly demonstrates the influence of Austro-German Romantic
composition upon Busoni throughout its three movements. Richard
Whitehouse, in his accompanying notes, says the work is “untypical”
of its composer, but comments that “its musical attractions
are yet considerable”. Major aspects of Lin and Loeb’s performance
draw the listener into the work. The momentum of movement 1
indicates just the right balance of mood between determination
and cheerful agreement. The second movement is more withdrawn
in character but a richly lyrical vein of writing is not sidelined
by either composer or performers. The closing movement reverts
towards the sound world of the first, but proves slightly more
driven in overall terms. Throughout the work, the natural recorded
balance captures both performers faithfully. The piano might
appear at a slight distance momentarily, but together the two
artists present a strong reading of this imposing music, fully
aware of the influences that bear upon it.
The Second Sonata,
which Busoni considered his “real op. 1”, can sound to an extent
like an inverted version of the first, having lengthy slow outer
movements framing a brief yet unabashedly virtuosic presto middle
movement. The first movement finds Lin’s sinuous delivery of
the violin line often heard against a dappled piano backdrop,
from which both parts grow in intensity without ever becoming
over-forced. The tarantella second movement is a brilliant flash
in the pan, calling for playing of technical command from both
players. This is achieved with flow and care in shaping both
parts, so that not only major episodes of grandeur register
but the half-light seconds of wit also do. Without a break,
it’s straight into the third movement – a near twenty-minute
theme and variations. The theme is drawn from Busoni’s beloved
Bach: “Wie wohl ist mir”, a chorale found in the Anna Magdalena
notebook. The variations explore a great contrast of moods and
form, from the ruminative to the more demonstrative forms of
march, moto perpetuo and fugue. The closing coda might be somewhat
subdued compared to all that has gone before but it achieves
a sense of suggestive integration with the opening movements
to fully complete the work.
The Naxos disc does
not present the first release of Busoni’s violin sonatas on
CD. Rob Barnett favourably reviewed
a 2004 release on the Finlandia label which included a youthful
sonata from the ten year old composer alongside the more mature
works. Naxos could have accommodated this early work on their
disc too had they wished to, in addition to the Bagatelles
they have provided. Slight they might be in length, but
not in terms of the technical skill required. Stylistically
they form a diverse set of character pieces which underline
once again Busoni’s skill in adapting the material of others
to suit his own ends. Across time and place one is taken on
a dizzying tour of fleeting impressions that are confidently
realized in the playing of Lin and Loeb.
A disc full of enjoyable
material executed with style. A true Naxos bargain.
Evan Dickerson
Joseph Lin
(violin); Benjamin Loeb (piano)
