Three unfashionable
rarities for violin and orchestra -
the Weill being the better known (least
unknown); the Wellesz and Stephan vying
with each other in obscurity.
The Weill is
distinguished by its almost ruthless
clarity of orchestration. There is no
romantic elaboration or relaxation.
The sound-world is related to that of
1920s Stravinsky - but certainly is
no facsimile. While the orchestral tissue
remains unfussy and sharply focused
the violin solo is flooded with song;
not that the vivace part of the third
movement is anything but dashing. There
is less of cosmopolitan disillusion
than you might expect if you know Weill’s
impressive two symphonies. This performance
makes more of the work's lyrical soul
than Daniel Harding's recording from
1998 on Nimbus. Harding’s exceptional
Nimbus recording is more transparent.
Then comes the compact
four movement suite by Wellesz (whose
symphonies are being recorded by CPO).
The first movement has the quick-moving
Bachian energy. This is followed by
an adagio and a largo that manage to
be both haunting and louring. There
is not a great deal of consolation in
this music. The succinct gemlike Allegro
finale is a shade lighter of step. Here
Wellesz looks towards the gurgling and
lithe nationalism of Bartók.
Indeed there are moments in this very
short episode when I wondered if I was
listening to a lost work by Miklós
Rózsa.
Finally comes Rudi
Stephan's single movement Music
for Violin and Orchestra. Stephan was
killed in Galicia aged 28 during the
Great War. He is one of the very few
German composers we hear about who were
killed during that War. Given the scale
of the slaughter on all sides it is
a wonder that we do not hear more about
fallen German, Turkish, American and
other musicians. Is there any literature
or background on this? English musicians
such as Cecil Coles, Ernest Farrar and
George Butterworth have been relatively
well addressed.
Stephan's quarter hour
piece is a kaleidoscope of activity
and variation. Bird song, Berg-like
lyricism, pre-Raphaelite elaboration,
eerie decorative writing and some triumphantly
gorgeous Korngold-like moments (10.31)
are all present. There is another recording
of the Stephan (an all-Stephan disc
on Koch) but this much more modern recording
has a more agreeable sound. Still, if
you need a fuller survey of Stephan
the extremely well organised Koch CD is
the one to go for. The composer might
well have made it in Hollywood on this
showing. Listen to the sun setting into
the glimmering sea - the final breath
of Stephan's Music for violin and orchestra.
Pan Classics hardly
ever seem to make it into shops in the
UK or USA. This is a pity as their product
and choice of artist and repertoire
is fresh and challenging.
Well documented, performed
and recorded.
Rob Barnett
Stefan Tönz (violin) 
