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Jean SIBELIUS (1865-1957)
Violin Concerto in D minor op. 47
(1903-5) [33:20]
Carl NIELSEN (1865-1931)
Violin Concerto op. 33 (1911) [36:16]
Maxim Vengerov (violin)
Chicago Symphony Orchestra/Daniel
Barenboim
rec. Orchestra Hall, Chicago, January
1996. DDD
WARNER CLASSICS 2564693673
[69:36] 
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Vengerov here displays great artistry and a honeyed tone. The
latter cannot only be due to the cherry-sweet Stradivari Cremona 1723 which is on extended loan to him courtesy of the Stradivari
Society Inc. of Chicago. Each phrase is imbued with passionate
significance - carefully shaped and weighted yet springy and supple.
Each detail, orchestral or solo, is driven home with an emphasis
apt to the phrase or effect. I had never thought of Barenboim
as a Sibelian but on this basis I need to think again. The two
artists work in companionable harmony.
The Nielsen is a not
unheard of coupling for the Sibelius as we know from the fine
Sony Classical CD by Cho Liang Lin on Theta
from 2002. Other approaches include the Sibelius Concerto with
the Humoresques and Serenades and the other pieces
for violin and orchestra. We also see the Sibelius with the
Tchaikovsky as in the famous Philips recording by Viktoria Mullova
and the BMG with Oistrakh.
Alternatively the Nielsen can be heard on Chandos and on Naxos
neatly harnessed with the two other Nielsen concertos (flute/clarinet).
The Chicago orchestra
is captured by Teldec's recording engineer Ulrich Ruscher with
audacious fidelity. That courage extends to a true concert hall
pianissimo-plus at the start of the Sibelius and again
at 14:33 in the work’s first movement. Vengerov's scudding motoric
playing at 15:30 (I) is just as ear-tickling as it should be
and vies with my first choice of the 1965 Moscow Oistrakh with
Rozhdestvensky once on BMG.
The notes are by the
redoubtable Robert Layton whose 1965 book on Sibelius and Nielsen
was amongst my earliest reading when the Sibelius and Nielsen
bug first took hold.
This represents another
really fine Sibelius and a sturdy chivalrous Nielsen; the latter
imbued with resinous character. The disc is in front rank and
jostles with Cho Liang Lin's fine identical coupling on Sony Theta.
Rob Barnett
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