The Moscow-based Manchester
label have here revived a collection
of twenty minute Russian violin concertos.
These are comparatively obscure pieces
that have had an existence only at the
periphery of the repertoire. They first
appeared under licence on the now defunct
Olympia label.
The concerto by Alexei
Fyodorovich Lvov is in three
movements but here is presented, like
the other two concertos, in a single
track It is in the Beethoven camp but
with infusions of Bellinian bel canto
and an overlay of Lisztian display
which is marginally overdone in the
finale. There are also parallels with
the numerous concertos of Spohr and
de Beriot. By the way, Lvov also wrote
the Imperial Russian Anthem: God
Save the Tsar. There is also an
opera Undine from 1846.
The Arensky is
a world away from the early nineteenth
century sentiments of Lvov. It is nowhere
near as obscure having had several recordings
over the years although they are hardly
numerous. If Lvov is indebted to Beethoven
then Arensky genuflects without shame
before Tchaikovsky’s music. With the
exception of the operas Arensky has
had his music thoroughly recorded over
the years. The most systematic of his
champions has been Svetlanov who recorded
three CDs worth as part of his Anthology
of Russian Symphonic Music. The
Violin Concerto has been recorded before
this by Aaron Rosand for Vox and Alexei
Trostiansky for Chandos. It is a work
after Tchaikovsky’s style and orchestration.
Many of its themes and their treatment
follow his example. None of this stops
it being highly attractive and the finale
in particular is a triumph of almost
casually engaging romance. You can think
also of the Glazunov Violin Concerto
as a blood brother in song to the Arensky.
Do not expect the absolute heights but
if you like Tchaikovsky then this concerto
is certainly one you need to hear.
The Concerto by Conius
has even more Tchaikovskian melodrama
about it including a really stormy introduction.
It is in one continuous span that falls
into three sections played attacca:
Allegro molto; Adagio;
Allegro subito. There is a cadenza
between the last two sections. It was
premiered privately in Paris in a version
for piano and violin by the composer
and Ivan Galamian. Kreisler also took
up the work as did Elman. It was however
written as a vehicle for the composer
and he toured with it widely. Most famously
it was recorded by Heifetz with the
RCA Victor Symphony Orchestra conducted
by Izler Solomon. There are also said
to be recordings by Perlman (EMI), David
Garrett (DG) and Andrei Korsakoff (Russian
Disc).
Yuly Conius (also seen
as Conus and Konius) was born in Moscow
where he taught until 1895. He was a
life-long friend of Rachmaninov and
often took part in trio concerts with
him. Conius was the dedicatee of Rachmaninov’s
two pieces Op. 6 for violin and piano.
Julius's son Boris and Rachmaninov’s
daughter Tatiana were married in 1932.
Conius went to Paris in 1921 to teach
at the Russian Conservatory but returned
to the USSR at the start of the Second
World War. He died in Moscow. There
are a handful of salon pieces but apart
from them and the Violin Concerto nothing
else.
This disc seems to
have been intended for the Russian market.
Cyrillic text is predominant. There
is some English - titles, track details,
Stadler’s biography and various press
encomia - but the notes about the composers
and the concertos are in Cyrillic only.
Three compact Russian
violin concertos; none of them at all
well known. The Arensky is the most
memorable but both the Conius and the
Lvov have their moments. The Lvov should
appeal to anyone at all curious about
what was happening in Russia under the
influence of Beethoven. Everything is
played with fiery attention by Stadler
and the recording is respectably clear.
Rob Barnett
Sergei Stadler (violin)
for
details
