The Stamitz concerto
is seemingly beholden to and sustained
by the Mozart Sinfonia Concertante
K364. Hosprová’s husky caramel
tone is warmly attractive and the pointed
elegance of the orchestra’s playing
are a delight to hear. The finale looks
forward to the display of the early
nineteenth century with a dash of folk
spirit for good measure. Mozarteans
with curiosity need urgently to seek
out this recording of a work by this
Mannheim-born son of Bohemian émigré
Jan Stamitz.
The prolifically productive
Zdenek Lukáš was born
in Prague and had lessons from Miloslav
Kabelac (1908–1979) between 1962 and
1970. His works include six symphonies,
operas, oratorios and cantatas and many
choral items. His Viola Concerto is
flamboyant, shot through with Hispanic
display and sudden intimations of tragedy.
Iberian contrasts of light and dark
are evident throughout. There are many
moments of arresting majesty in which
a fine melodic underpinning registers
memorably. A certain serenity is often
transformed in an instant into something
thrumming with panic – try the first
movement between 5:43-6:45 where in
addition Martinů’s ‘voice’ can
be heard. That voice also arises in
confident modesty at the start
of the Cantabile second movement
and in the percussion-italicised exuberance
of the finale. This is very well worth
hearing and instils enthusiastic curiosity
about Lukáš’s other works.
The Martinů
work here catches the composer
in a lyrical flow of subdued colours.
It has more of a sense of mood-cohesion
than the very mercurial Lukáš.
Hosprová and the conductorless
orchestra give a fine performance in
the mainstream of this multiply recorded
work. I compared this version with the
Suk-Supraphon (11 1969-2 011) from 1987
and the Imai-Bis (BIS-CD-501). Imai
is slowest but not by much at 20:35
but her version is hampered by an unusually
dull sound image. That 1990 recording
can be compared to Josef Suk’s 1987
session for Supraphon. Both Imai and
Suk have the benefits of a full orchestra
rather than chamber grouping. Arco Diva
make up for this by recording the smaller
group very closely. This harvests much
detail but is rather over-warm. In fact
in relation to the Rhapsody-Concerto
alone the Supraphon is to be preferred
for its aerated singing tone and for
Suk’s dignified keening. The soloist
benefits from that extra space permitted
by the Supraphon technical team. Suk
takes 21:18 to Hosprová’s 21:10.
If you like your Martinů
with more brightness then Hosprová’s
version is for you. The couplings make
life pleasantly difficult. The Supraphon
sports a logical and generous pairing
with the two Martinů violin concertos
recorded in 1973 while the Arco Diva
has the merit of variety and
a mix that adds a baroque concerto with
the accessible and very mercurial Lukáš
work.
Arco Diva are an admirable
company and have chosen well in Ms Hosprová
but in an effort to engage the public’s
credit cards they do not need to resort
to seductive Ofra Harnoy style poses
for their artists.
Rob Barnett
for
details
Jitka Hosprová (viola) 
