MusicWeb International One of the most grown-up review sites around   2022
 57,903 reviews
   and more ... and still writing ...

Search MusicWeb Here
Acte Prealable Polish CDs

Presto Music CD retailer
 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider

new MWI
Current reviews

old MWI
pre-2023 reviews

paid for
advertisements

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews

TROUBADISC
Troubadisc Weinberg- TROCD01450

All Troubadisc reviews


FOGHORN Classics

Alexandra-Quartet
Brahms String Quartets

All Foghorn Reviews


All HDTT reviews


Songs to Harp from
the Old and New World


all Nimbus reviews



all tudor reviews


Follow us on Twitter


Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Contributing Editor
Ralph Moore
Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

REVIEW
RECORDING OF THE MONTH
Plain text for smartphones & printers


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews


all cpo reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews


All APR reviews

Lyrita recordings
All Lyrita Reviews

 

Wyastone New Releases
Obtain 10% discount

 


Support us financially by purchasing this disc from
Alexander GLAZUNOV (1865-1936)
Violin Concerto in A minor Op. 82 [20:52]
Meditation in D major Op. 32 [4:15]
Mazurka-Oberek in D major [9:56]
Othmar SCHOECK (1886-1957)
Concerto quasi una fantasia in B flat major Op. 21 (1912) [34:06]
Chloë Hanslip (violin)
Orchestra della Svizzera Italiana/Alexander Vedernikov
rec. October 2011, Auditorio Stelio Molo, Lugano, Switzerland
The Romantic Violin Concerto, Vol. 14
HYPERION CDA67940 [69:09]

I wondered how long it would be before the Schoeck concerto caught the eye of Hyperion in their Romantic Violin Concerto series. It’s such a delightful work with a lambently expressive absorption in the singing heart of the instrument. That the music was written as a love offering by Swiss lieder and opera specialist, Othmar Schoeck to Stefi Geyer who gave him the cold shoulder dampens the ardour of the music not a whit. You can read the best account of that one-sidedly imploring encounter in Christopher Walton’s unique, frank and masterly intimate biography of Schoeck: Othmar Schoeck - Life and Works [ISBN: 9781580463003, University of Rochester Press]. You just have to hear this work - and likewise the Janis Ivanovs and August de Boeck violin concertos - further candidates for Hyperion’s questing heroes.
 
It takes the gifted insight of Hyperion to make a love-match between the Schoeck and the Glazunov and to have the well-founded confidence of investing both works with Chloe Hanslip’s great musicianship. This recording will do her reputation no harm at all; quite the opposite. After this we need to hear her and her co-conspirators in lush romanticism - Vedernikov and the Orchestra della Svizzera Italiana - in the Korngold and the Tchaikovsky.
 
Listening to this Glazunov, a work I dearly love, was comparable in effect to Hyperion’s CD of the Shostakovich Piano Concerto No 2 by Marc-André Hamelin. It vies with well-loved reference recordings - in that case the Bernstein. Here Hanslip is to be counted very high, in the same exalted company as Jose Sivo, Rachel Barton-Pine, Sasha Rozhdestvensky and Julia Krasko. I have high hopes of one other version as yet unheard by me: Oscar Shumsky on Chandos (CHAN 8596). However this new one is nothing short of superb - spine-tingling stuff. The two Glazunov makeweights are lovingly done. They were not unknown to me but have, to my knowledge, never sounded so succulent. Interestingly the Mazurka-Oberek was not included in the indispensable Warner-Serebrier collection of Glazunov’s complete concertos though there was room for it.
 
As for the Schoeck it has not been recorded on a large-scale. Geyer can be heard on a Jecklin CD in a recording made in later life - it’s a vintage item. Other violinists who have championed the Concerto include Bettina Boller on Claves. Emmy Verhey’s MGB account has been around since 1991 and Ulf Hoelscher recorded it for Novalis. It’s a lovely work - in almost constant song; perhaps too much for its own good at times. It needs more stony drama but as a caressing love poem on a large-scale it never lets the listener down for all its transient echoes of Brahms and Mendelssohn meeting Delius. You can keep stylistic originality if I have to decry music of this emotional impact.
 
Hyperion have rarely misplaced their commissions to write liner-notes and their trust in Calum Macdonald is completely rewarded. The sound quality throughout is big, warm and close - a superb job has been done by Andrew Keener and Ben Connellan. The engineering forms a perfectly adroit complement to the demands of these sunset works in performances that seem faithfully to emote the composers’ intentions. In a word: glorious.
 
Rob Barnett