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Suites and Partitas of Modern Times
Igor STRAVINSKY (1882-1971) Suite Italienne (1933) [17:54];
Luigi DALLAPICCOLA (1904-1975) Tartiniana Seconda (Divertimento) (1956) [11:04];
Frédéric van ROSSUM (b.1939) Graffiti op. 16 (1968) [4:24];
Alfred SCHNITTKE (1934-1998) Suite im Altem Style (1972) [14:53];
Witold LUTOSŁAWSKI (1913-1994) Partita (1984) [16:44];
Don FREUND (b.1947) Sonapartita, noch nach Bach (2001) [10:55]
Daniel Rubenstein (violin)
Muhiddin Dürrüoglu-Demiriz (piano)
rec. Théâtre Saint-Michel, Brussels, 1-4 August 2002
TALENT DOM 2910 125 [75:53]

There is something very refreshing about a disc which almost makes a virtue of its plainness. It presents a series of six comparatively short works, most themselves divided into shorter movements or sections, in chronological order of composition and which have the simple link that all were influenced by or directly based on baroque models. It would be a pity nonetheless if its somewhat dry title and appearance were to put casual listeners off in favour of something with more obvious audience appeal. For me at least, this disc has that in quantities.

The Stravinsky is an arrangement the composer made of movements from "Pulcinella" for him to play with Samuel Dushkin. It is probably the best known piece here, and comes across freshly with plenty of bounce but without the thick vibrato-laden tone which some better known violinists have been known to inflict on it. The Dallapiccola is perhaps less familiar, although it too has been recorded on a number of occasions. Heard directly after the Stravinsky the differences in their musical character are readily apparent, with Dallapiccola’s lyrical use of counterpoint casting a different light on the baroque figuration which both works employ.

The short piece by the Belgian composer van Rossum was written for a national music competition. It is less obviously attractive but does not outstay its brief welcome. The Schnittke in comparison is the most obviously charming piece, mainly consisting of apparently straightforward pastiche, although as always with this composer what is on the surface is not necessarily the whole story. The comparatively well-known Lutosławski Partita is always worth hearing, with a dramatic manner which commands immediate attention. The final piece, by the American Don Freund, was written specifically for this CD and takes its name from Bach’s two great sets of works for unaccompanied violin – the Sonatas and the Partitas. It is apparently influenced by what he describes as "an antique style-period – the late 1960s", a reference which makes me feel very much an antique myself, especially as I well remember the excitement at that time of the works by George Rochberg and Lukas Foss to which he refers as influences here. It is an enjoyable piece, and one which I hope will have a life beyond this disc.

The two performers have set themselves a formidable task with this programme, but come out of it very well. The recording is somewhat dry but by no means uncomfortable to listen to. Overall this is a disc that is likely to provide much - possibly unexpected - pleasure.

John Sheppard

see also review by Dominy Clements

TALENT Catalogue

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