Interactions
Fartein VALEN (1887-1952)
Sonata for Violin and Piano Op.3 (1915/22) [18:16]
Igor STRAVINSKY (1882-1971)
Duo Concertant (1931/2) [16:31]
Witold LUTOSŁAWSKI (1913-1994)
Partita (1984) [16:43]
Gunnar Flagstad (piano)
Bård Monsen (violin)
rec. January 2016, Sofienberg Church, Norway
2L 2L237 SACD & Blu-Ray [53:00]
This recital might well be regarded as in danger of falling
into esoteric territory. The three works here are not generally well
known although the Stravinsky has been recorded by Itzhak Perlman. Add
to this that the set is very expensive, around £22. It consists of an
SACD/CD compatible disc and a Blu-Ray in 2.0 LPCM Stereo, 5:1 DTS-HD
(in which format I heard the performances), Dolby Atmos and 9.1 Aura
3-D. Many of these formats can only be appreciated by a few privileged
audiophiles. The recording is very life-like and captures the instruments
superbly.
The Norwegian composer Valen was a name to new me although some recordings
of his compositions have been reviewed
here. Based on this early piece I shall certainly explore others. There
is a fascinating Valen article in Mark Morris's "Guide to
Twentieth Century Composers" appearing in the section on Norway.
The Sonata, begun in 1915 and completed seven years later,
is a fine piece. He had been studying Bach although the general tone
is very much in the Romantic style. The first movement is lyrical and
languid with the second movement comprising variations leading to a
crescendo. I enjoyed it considerably and thought the playing very good.
It's definitely not difficult listening. This is a discovery
I will want to return to.
When we come to Stravinsky’s Duo Concertant we reach
slightly more familiar territory. There have been recordings going back
to Szigeti.
Lewis Foreman thought highly of Lydia Mordkovitch's reading on
Chandos.
My comparison is in a recital given in 1976 by Itzhak Perlman (EMI Classics
now Warners). I have it in a big set of all Perlman's Warner
recordings. Duo Concertant was written about the time of the
Violin Concerto and according to 2L's excellent and
extensive notes, was inspired by Virgil’s Georgics. There are
five short movements. These have a lyrical- pastoral feel and are slightly
spiky and humorous; try the fourth movement. It's all perfectly
accessible unless you are averse to twentieth century chamber music.
I love Perlman’s soulful rendition and would recommend his version;
it is available as a single disc with other works by Stravinsky —
cost should be under £10. Comparing an old “Classic” and
a newcomer can be disadvantageous to the latter. In my view this is
just the case here. Bård Monsen is undoubtedly a proficient violinist
but he hasn’t the depth of feeling that Perlman has for this work;
nor for that matter does he have quite the same empathy with the pianist.
In Perlman’s case this is the renowned Bruno Canino. I thought
that the 2L duo were faster than the older pair but this is not the
case. In addition, I prefer the re-mastered analogue sound of the 1976
recording despite the Blu-Ray's sophistication. That said, theirs
is certainly a very good performance and I would love to hear Flagstad
and Monsen live.
The third piece is by the Polish composer Witold Lutosławski whom
I was lucky enough to see conduct two of his compositions, including
the Cello Concerto at my first Prom in 1991. The Partita was
composed in 1984 for Pinchas Zuckerman and Marc Neikrug and subsequently
orchestrated for Anne-Sophie Mutter. As the title suggests, the composer
harks back, at times, to Bach particularly in the startling Gigue
of the first movement. Dominy Clements in his review
of Cuckson/McMillen in this piece, apart from saying how fine a work
this is, refers to the fact that Lutosławski always retained a
Polish earthiness in his works. I was taken aback by the emotional power
of this piece and felt it very melodic and approachable. There have
been at least half a dozen CDs that have included this work and there
are more than ten versions on Naxos Music Library. Without resorting
to hyperbole, I’d rate this as one of the finest pieces of late-twentieth
century chamber music. In this work, I felt the two performers were
totally at one with the music; so much so that I played it again immediately,
something I wish might happen at a chamber concert with a new piece.
This is a fine collection of three very rewarding works and each definitely
deserves wider currency. As I mentioned at the beginning this is a very
expensive set and surely will not be purchased unless one has Blu-Ray.
The standard of packaging, notes and pictures are first class. Clearly
one is dealing with a quality product. This will appeal to audiophiles
and lovers of modern chamber music prepared to spend over £20 for 53
minutes of real quality and stimulation. Appealing, particularly for
the Lutosławski.
David R Dunsmore
