How times change! Before
the 1990s, tonal music - music with
a definite tune, music that was immediately
accessible, that appealed straight to
the heart and spirit, that was easy
on the ear, was definitely out, passé,
only for the proletariat. Nowadays,
tonal music is acceptable once more;
even warmly welcomed.
When we are young and
just discovering music, we are bowled
over by the immediate emotional impact
of the music of such composers as Tchaikovsky
and Puccini etc. I suspect that many
of us then go on to consider them blasé
because of their unambiguous, instant
appeal and distinctive melodies, but
return to them in later maturity to
discover their very real strengths and
frequently undervalued and unappreciated
subtleties.
Over the last decade
or two, through the adventurousness
of the 'indies' - Hyperion, Chandos,
Naxos et al, we have been able to listen
to much meritorious music, music long
lost or neglected. At times, however,
I think we tend to go overboard in an
over-enthusiastic welcoming of such
material. I mention all this because
it seems to me that the music on this
new Hyperion album could fit into this
category.
Much praise has been
heaped on the music of Mieczysław
Karłowicz following the release
of two best-selling albums of his music
on the Chandos label. Lithuanian-born
Karłowicz 's brief life was cut
short by a tragic accident when he was
still in his early thirties; he was
killed by an avalanche while skiing.
It therefore has to be accepted that
his music was at that time still heavily
influenced by other composers and probably
he had yet to find his own true individual
voice.
The Violin Concerto
is a fine composition, no mistake about
it and it will visit my CD player again,
but it is so derivative. As Martin Eastick
notes "Tchaikovsky's influence predominates"
- in fact it dominates. Someone coming
blind to this concerto might be forgiven
in thinking "I didn't know Tchaikovsky
wrote a second violin concerto." All
the Tchaikovsky mannerisms are evident
throughout the opening movement. It
is certainly very appealing with its
stirring and lyrical melodies - but
it does not have Tchaikovsky's emotional
depth or his melodic impact. Karlowicz's
central Romanza:Andante is lovely and
sweetly affecting and yet I could not
dispel the feeling that it was all rather
too reminiscent of Max Bruch, again
without the sheer romanticism of that
composer's more famous Violin Concerto.
The most original movement is the Vivace
(still nodding towards Tchaikovsky)
but with some nicely stated wit. Tasmin
Little rises to its virtuoso challenges
and, in fact, is most sympathetic to
the Concerto's bravura and affecting
lyricism.
Moszkowski is best
remembered for those splendidly colourful
and melodic Spanish Dances and a gorgeously
tuneful Piano Concerto. Although the
Violin Concerto does not have the same
immediate appeal, it has considerable
merit. It is a substantial work of some
35 minutes and designed to show off
the soloist's virtuosity. The opening
movement is sunny and sweetly lyrical
with a fresh out-of-doors appeal and
an agreeable lilting main tune. It is
reminiscent of Mendelssohn. There is
little high passion but there is plenty
of demanding dense passage-work for
the soloist. I felt that a bit of judicious
editing to shorten this opening movement
might have strengthened its appeal.
The Concerto's strength is undoubtedly
the central Andante, beautiful, meditative
- sweet memories recalled in sweet nostalgia?
Max Bruch and Elgar came to mind. The
joyous finale marked, Vivace is certainly
vivacious, swift and mercurial, and
it keeps Tasmin fully stretched. She
rises to its many technical challenges
with aplomb. I should say at this point
that Martyn Brabbins and the BBC Scottish
Symphony Orchestra provide excellent
support - plenty of romantic bravura
- throughout this album.
The short Ballade is
sweetly lyrical, and once again rather
Mendelssohnian in outlook with an appealing
tune and mildly bravura material that
suggests a hunt. Again there is sufficient
virtuoso challenge.
An
appealing if derivative Karłowicz
Concerto combined with the sunny, lyrical
Moszkowski works for violin and orchestra
played with verve and sensitivity by
Tasmin Little.
Ian Lace
see also review
by Rob Barnett
Tasmin Little (violin) 
