Enterprising as ever, Chandos has released a double
set containing all the works that Prokofiev wrote for the violin as
a solo instrument. Canadian violinist James Ehnes is centre-stage with
the BBC Philharmonic Orchestra under their former chief conductor Gianandrea
Noseda (now conductor laureate).
Over my years of reporting for ‘Seen and Heard International’
I have attended a considerable number of BBC Philharmonic concerts conducted
by Noseda at Manchester’s Bridgwater Hall and also several with
Ehnes, a regular visitor there. Although I would describe Noseda and
Ehnes as having a very different stage presence they are similar in
that they are both musicians of genuine integrity who perform right
from the heart.
The
Violin Concerto No. 1 is a relatively early work composed
in 1916/17, a highly productive time for the composer, with sketches
for the opening movement made earlier in 1915. It was one of the last
works to be written before Prokofiev left Russia. Prokofiev chooses
not to exploit the virtuosic qualities of the violin with soloist and
orchestra being more like equal partners. Nevertheless it is a quite
excellent score that I would like to see programmed far more regularly.
In the fascinating opening
Andantino it is not difficult to imagine
an icy Russian chill with Ehnes creating a hauntingly tense atmosphere.
The fiery
Scherzo is vibrantly played with the wonderful contemporary
writing and mischievous sounding effects expertly negotiated. In the
Finale Ehnes strikes a nice balance between mystery and introspection
with the assured Noseda directing his players in an explosion of passionate
lyricism in the marvellous big tune at 2:05.
Prokofiev wrote his
Violin Concerto No. 2 around the time he
was working on his
Romeo and Juliet. In truth the work tends
to be overshadowed by the earlier
D major Concerto. Prokofiev’s
writing is highly melodic although more contemplative than the earlier
work and containing little in the way of virtuosic display. I reported
from the Bridgwater Hall concert when Ehnes gave a fine if not outstanding
performance of this score with the same forces in February 2013. Looking
at the dates I suspect that Ehnes and the BBC Phil went into the Salford
Quays studio the next day to make this recording. In the opening
Allegro
moderato one immediately notices the lighter scoring than in its
D major predecessor. Ehnes maintains his strong form throughout the
long and varied melodic line establishing a rather dreamy mood with
some lush and delightfully warm colours. In the absorbing central
Andante
there’s a cool rather isolated feel to the solo line against the
sparse pizzicato accompaniment. Rhythmic, dance-like and somewhat satirical
the violin stands out prominently in the
Finale against extremely
spare instrumental scoring. Evident throughout is a serious, rather
gloomy undertow to the writing. In this outstanding interpretation the
congenially elegant approach from Ehnes is compelling, complemented
by the insightful support from Noseda and his BBC Philharmonic players.
These striking performances of the violin concertos are certainly on
the same elevated level as my two main recommendations: the 2012 Moscow
accounts from Arabella Steinbacher and the Russian National Orchestra
under Vasily Petrenko on Pentatone Classics and the now ‘classic’
1975 Kingsway Hall, London from soloist Kyung-Wha Chung and the London
Philharmonic Orchestra under André Previn on Decca (c/w Stravinsky
Violin Concerto).
The first chamber work on the set is the four movement
Sonata for
two violins where Ehnes is joined by Amy Schwartz Moretti. I don’t
see the work appearing too often on recital programmes although it’s
accessible enough. It stands away from the acerbic style of many of
Prokofiev’s works from this period. In the short opening
Andante
cantabile Ehnes and Moretti
ensure a yearning quality but
it’s not a tragic or grief-stricken one. There is some energetic
interplay in the virtuosic
Allegro which is full of restless
vibrant writing. Marked
Commodo (
quasi allegretto) the
gentle lyricism of the third movement is profoundly sorrowful as if
grieving for a loved one. The conversation between Ehnes and Moretti
in
the
Allegro con brio:
Finale is a pulsating and animated
one conveying a slightly dark, unwelcoming character. I enjoyed the
two gypsy-like dance episodes at points 1:59-2:54 and 4:32-5:05. Much
as I have enjoyed this account of the
Sonata for Two Violins
I would not want to be without the admirably played 2009 Prague recording
from Veronika Jarůšková and Eva Karová - of
the Pavel Haas Quartet - on Supraphon.
The score to the enigmatic
Sonata for Violin Solo dates from
1947 - an extremely difficult time when Prokofiev was the target of
much damaging criticism by the Soviet authorities. Although I have not
warmed to the work I certainly prefer this solo violin version compared
to the original scoring for unison violins especially with playing as
pleasing as this. A mix of yearning melody and brash virtuosity, the
reasonably appealing opening
Moderato reminds me of a virtuosic
encore. It’s played with Ehnes’ accustomed self-assurance.
Used as the basis for the five variations, the calming theme Prokofiev
uses is simple and rustic in character. So sure-footed in the
Finale
Ehnes makes light work of the bold and somewhat extrovert demands. I
have admired the 2012 Concertboerderij Valthermond account of this Sonata
by
Arabella Steinbacher on Pentatone, however, I find the present performance
equally satisfying.
In the chamber works for violin and piano Ehnes is joined by pianist
Andrew Armstrong, with whom he has made a number of much-admired Chandos
CDs. One of my favourite chamber works is the
Violin Sonata No. 1,
a truly great Russian score. This dark and intense four movement score
proves to be a fairly popular choice with chamber musicians and I have
certainly heard it several times in recital. The dark rather dense
Sonata
No. 1 was commenced in 1938 before the
Sonata No. 2. It was
then put aside until it was completed two years later. A bleak, shadowy
character imbues the opening
Andante assai and at point 4:41
the “
wind in the graveyard” effect that usually sends
a shiver down the spine is relatively subdued. Vibrant playing from
Ehnes and Armstrong in the tense and angry writing of the
Allegro
brusco has a rebellious and rather sinuous quality. In the
Andante
Jansen’s muted violin exudes a dreamy tenderness on the surface
but reveals an undercurrent of foreboding with a rather curious dissociated
feel. Vigorously bold and angrily forceful, the
Finale mainly
gushes with an almost incessant torrent of music. At point 5:21 the
chilling “
wind in the graveyard” effect appears once
again; if seeming a touch repressed.
Prokofiev’s
Violin Sonata No. 2 from 1943/44 with its formal
classical design was in fact adapted from his
Flute Sonata, Op
94. In the splendid opening
Moderato Ehnes and Armstrong seem
perfectly at one with the highly memorable bitter-sweet melodies. Frenetic
and bold the
Scherzo in triple-time is followed by the gentle
and appealing pastoral writing of the
Andante in which the duo
reveal a light undercurrent of melancholy. In the
Finale a stompingly
jaunty
Sonata-Rondo feels a touch mechanical and I was left wondering
what political point the composer was trying to make.
The charming songful
Five Melodies for violin and piano was adapted
from a work for
Five Songs without words for voice and piano,
Op. 35 from five years earlier. The opening
Andante is a dour,
serious affair while the contrasting mood of the second piece
Lento
ma non troppo is all dreamy peace. Strident with moments of endearing
calm, the middle movement
Animato - ma non allegro is followed
by very brief, summery and easy going
Allegretto leggero e scherzando.
Marked
Andante non troppo the highly agreeable final Melody features
a lovely theme with an impertinent central section.
My first choice accounts in both the
F minor and
D major Sonatas
is
from Shlomo Mintz and Yefim Bronfman - a true meeting of minds.
They were recorded by Deutsche Grammophon in 1987 in Cologne. In addition
I should mention the wonderfully vibrant accounts from Gidon Kremer
and Martha Argerich recorded in 1991 at Brussels on Deutsche Grammophon.
This also includes the
5 Melodies.
I found the excellent sound quality of the concertos from the BBC Studios
at MediaCityUK vividly clear and splendidly balanced. From Potton Hall
the chamber works are agreeably if not strikingly recorded.
This is an outstanding Chandos set from James Ehnes of Prokofiev’s
complete works for violin. It includes quite stunning performances of
the two violin concertos.
Michael Cookson
Masterwork Index:
Prokofiev
violin concertos 
