Ellen Taaffe Zwilich writes in a manner
that is at once communicative yet that
does not make any obvious concessions
to the ear. There is an integrity to
the works on this disc - particularly
the Violin Concerto - that is most impressive.
The Violin Concerto
was premiered by the present soloist,
Pamela Frank. The New York Times referred
to this concerto as 'A love song to
the violin', and it is easy to see what
was meant. The yearning, lyric side
to the instrument is to the fore – although
this is not to underplay the clear virtuosic
element. Zwilich was a professional
violinist in the American Symphony Orchestra
for several years. Frank has no problems
whatsoever with the technical challenges
and it is amazing to think this is taken
down live. Yet it is in the long-breathed
melodies that she triumphs. There is
an underlying intensity to the whole
concerto that is very evident – certainly
the live setting would have helped.
The warmth of the writing is also memorable
and it positively glows just before
the cadenza.
The slow movement is
a rumination on Bach's great Chaconne
for solo violin and is based on the
opening notes thereof. Frank plays the
quasi-improvised high melody of the
opening with great sweetness of tone,
while Michael Stern paces the movement
carefully towards its climax. Its slow
inevitability is reminiscent on one
level of Birtwistle's monumental ritualisms
but with a more immediately approachable
harmonic backbone.
In contrast to this
lyricism, the finale has a definite
rugged beginning, making us wait for
the playfulness that comes later. Frank's
playing of the spikier writing is excellent,
while the long-breathed sections are
unhurried and expressive. The end is
ruminative yet joyous. A major violin
concerto that is now accessible to all
at this super-budget price. Bravo to
all concerned.
The work Rituals
is disappointing after the Violin Concerto,
yet it stands in its own right. The
lyricism that seems to lie at the heart
of Zwilich underpins all, even the arresting
opening chords. There is indeed a heavily
ritualistic feel to the first movement
('Invocation'). The second movement
('Ambulation') is more playful and very
woodwind-dominated. It is only here
that the solo percussion comes into
its own. There appears to be a Bernstein
debt at times (around 2'30ff), coupled
with Coplandesque unisons.
The best movement is
the third ('Remembrances'), all desolation
(great cor anglais solo), an experience
guaranteed to bring the listener spell-bound
into Zwilich's world. The finale begins
hesitantly. The hard percussion sounds
impel the rhythms into motion. There
are glittering moments (around 2'35).
This is very exciting and there is no
doubt of the superb performance. The
talent of the group NEXUS shines through.
Recommended, especially
for the Violin Concerto.
Colin Clarke
aPamela Frank (violin); 
