The independent designer
label Onyx was recently launched with
recordings from renowned performers;
soprano Barbara Bonney, the Borodin
String Quartet, pianist Pascal Rogé
and violinist Viktoria Mullova. The
notion of starting a privately funded
record label in today’s highly competitive
and contracting classical music industry
would seem at first sight to have the
same potential for success as arranging
package tours to war-torn Baghdad. However,
if all the releases are as excellent
as this then Onyx deserve every success.
Viktoria Mullova, the
internationally acclaimed Russian-born
virtuoso violinist studied in Moscow
at the Central Music School and at the
Conservatoire. Her extraordinary talent
gained international attention when
she won first prize at the 1980 Sibelius
Competition in Helsinki and then carried
off the Gold Medal at the Tchaikovsky
Competition in 1982. The following year
she defected from the Soviet Union in
a headline-grabbing incident that involved
her then-boyfriend. He was an obscure
conductor who masqueraded as her piano
accompanist on a foreign tour that culminated
in a confused fourth of July weekend
as the couple remained in hiding, waiting
for the American Embassy in Sweden to
open the following Monday and claim
political asylum. Since then, she has
appeared with most of the world’s greatest
orchestras, at the major international
festivals and has released a substantial
number of recordings.
Mullova has developed
a tremendous passion for the baroque
repertoire. Her period-instrument approach
has been nurtured in performances throughout
the world with the Orchestra of the
Age of Enlightenment and the Italian
based ensemble Il Giardino Armonico.
I have a recording of the talented Mullova
performing and also directing a wonderful
recording on period-instruments in 2002
of Mozart Violin Concertos Nos. 1, 3
and 4 with Orchestra of the Age of Enlightenment,
on Philips 470 292-2. Although it received
a mixed critical reception, Mullova’s
Mozart left a huge impression on me
and her amazing playing still at certain
points makes the hairs stick up on the
back on my neck.
Il Giardino Armonico
are one of several outstanding specialist
period instrument ensembles that have
come to prominence at the cutting-edge
of the late-baroque scene in the last
ten or so years. They have played their
part in enhancing levels of technical
proficiency and interpretation. The
pioneering interpretations of Vivaldi
and late-baroque music using period-instruments
were dictated by the severe limitations
of the instruments. These must have
felt so confining to the players; as
if they were all wearing strait-jackets.
Consequently the performance style often
came across as technically mechanical,
rather lacklustre, frequently insipid
and even sterile. These days these ‘new
kids on the block’ explore and exploit
the strength of their period instruments
rather than being restricted by the
weaknesses.
Mullova here plays
her cherished ‘Jules Falk’ 1723 Stradivarius.
She uses gut strings with a baroque
bow to achieve a closeness to Vivaldi’s
period and style of performance. Mullova
reports that her transition from using
metal to gut strings is now second nature.
Interestingly and perhaps more surprisingly
she finds the use of the baroque bow
far more significant, which, she says,
alters the quality of sound produced
more dramatically than anything else.
Currently Mullova does not generally
research historical sources as a means
of justifying her interpretations. She
attempts to be as faithful as possible
to the score in matters of ornamentation
and phrasing.
Three of the five Vivaldi
concertos on this release have been
given descriptive titles which Mullova
considers useful as identifying labels
but not as crucial to the interpretation
of the music. Often the titles only
indicate the general atmosphere of the
score rather than a strict programmatic
intention such as in "The Four Seasons".
Mullova maintains that the real challenge
is to get to the heart of the music,
the need for the ensemble to ‘breathe
together’ through the musical phrases.
We are told that this process takes
her several days of rehearsal, by the
end of which the ensemble is truly unified
in expression.
The title of the Concerto
in D major for violin, strings and basso
continuo Il Grosso Mogul,
RV208 alludes to the Indian court
of the Grand Mughal, Akbar, whose reign
saw the growth of the Mughal Empire.
Mullova’s rock-solid technique easily
handles the considerable demands on
her dexterity and she is particularly
impressive in the scintillating and
exceptional cadenzas.
J.S. Bach was so impressed
by Vivaldi’s Concerto in B minor for
four violins and cello, RV580 that he
transcribed it to produce his Concerto
for four harpsichords in A minor, BWV
1065. It is part of the L’estro armonico
set published in 1711 which represented
a turning point in Vivaldi’s style and
introduced a more individualistic approach
and a greater distinction between solo
and accompaniment. Mullova provides
significant lyricism and ample colour
in this highly persuasive interpretation.
The untitled Concerto
in C major for violin, strings and basso
continuo, RV187 is one of the less glamorous
works in Vivaldi’s catalogue. The opening
allegro is one of joie de
vivre and the central largo
is notable for the melancholic violin
line. The work concludes with an allegro
that blends the high spirits of
the first with the darker aspects of
the slow movement. The technical difficulties
of double-stopping, sustained notes
that demand accurate intonation and
dextrous flourishes present little problem
to the gifted Mullova. Her execution
of the score is admirably rhythmic and
precise.
The Concerto in D major
for violin, strings and basso continuo
"L'Inquietudine", RV234, meaning
‘restlessness’, is a work of terse brevity.
Particularly significant are the palpitating
texture of the strings, the boisterous
tuttis and the smooth lines of
the solo part. The soloist presents
a calming influence in the central largo.
In the final movement the solo violin
seems to have succumbed to the general
unrest, yet with phenomenal agility
takes the necessary control. Mullova
plays the movement exquisitely with
plenty of fluency and vivacity.
The Concerto in E minor
for violin, strings and basso continuo,
Il Favorito, RV277 was one of
a set of six that Vivaldi presented
to the Holy Roman Emperor Charles VI;
the set was later published as Vivaldi’s
Op. 11 of which Il Favorito is
the second in the set. The opening allegro
has an imposing grandeur that shows
Vivaldi’s capacity for musical drama.
The central andante exudes an
almost wistful lyricism and the dotted
rhythms of the closing movement seem
to foreshadow the final allegro from
the Violin concerto in F major Autumn,
RV 293 from The Four Seasons.
The title which was appended after the
work had been composed is suggestive
of the brilliance of the solo violin
part. There’s thoughtful playing from
Mullova with fluency and an abundance
of vivacity.
The partnership of
Mullova and Il Giardino Armonico under
Giovanni Antonini have played this repertoire
together many times. They appear to
be constantly striving for fresh insights
and for musical spontaneity. Mullova’s
performance in these Vivaldi concertos
demonstrates that she has reached a
supreme solidarity with Il Giardino
Armonico. Her flawless and cool playing
can oscillate effortlessly from exhilarating
and formidable to sensitive and emotional,
yet constantly remaining polished and
controlled. These are intensely committed,
expressive and exhilarating accounts
performed with extraordinary precision,
exceptional tone and rock-steady technique.
Not surprisingly the
superb and imperturbable Mullova’s expressive
and precise period-instrument playing
differs in style from the two top-ranked
baroque specialists. Giuliano Carmignola’s
lyrically orientated playing is as stylish
as his fine Romeo Gigli suits. It is
expertly blended with that trademark
panache. Then there’s the thrilling
playing of Fabio Biondi with his propensity
for incredible energy and amazing virtuoso
pyrotechnics combined with a wonderful
facility for instrumental colour. It
is good to see that these leading period-instrument
specialist have been able to develop
a diversity of individual styles. This
variety can only enhance the pleasure
of the listener.
As if we needed confirmation
these performances marvellously demonstrate
Vivaldi’s genius for richness of orchestral
palette, musical invention and poetic
energy. This is a vital recording of
high quality Vivaldi concertos combined
with Mullova’s stunning performances
in a clear natural acoustic.
Vivaldi, Mullova and
Onyx are a winning combination.
Michael Cookson
Visit
the ONYX Catalogue
Viktoria Mullova (violin) 
