Johannes Brahms

Concerto for Violin in D Major, opus 77 (cadenza by Vengerov)
Sonata for Violin and Piano No. 3 in d minor, opus 108.

Maxim Vengerov, violin
Daniel Barenboim, conductor and piano
Chicago Symphony Orchestra
Teldec 0630-17133, total time: 61:52, all digital.

The Concerto was recorded live at Chicago's Symphony Hall in October 1997.
The Sonata was recorded in October 1998.
Recording producer: Freidemann Engelbrecht.
The violin used by Mr.  Vengerov is by Antonio Stradivari, Cremona c.
1723, ex Kiesewetter.

Maxim Vengerov is a talented and thoroughly modern performer.  In this
recording he takes on one of the landmarks of the 19th-century Romantic
repertoire.

This Brahms Concerto opens in stately fashion, measured and careful.
The violin's entrance is brisk, raising hopes of more excitement to follow.
But the conductor manages to keep a tight rein on the proceedings.  A range
of moderate to slow tempos are maintained throughout the performance, which
is one of the longest on record.

In general, Vengerov plays with great precision but little warmth;
instead he displays a steely brilliance.  He often sounds hurried even
when he is not playing fast.  Barenboim seems to be holding back the tempo
whereas the soloist seems to want to go faster.  In the second movement,
the combination of a slow tempo and very smooth playing from both soloist
and orchestra results in a mood that borders on the soporific.  By the end
of it I was so relaxed that the aggressive opening of the third movement
came as something of a shock.

Vengerov's tone recalls that of the young Heifetz:  it is precise and
intense, with little of what now would be considered Romantic excess.  In
fact, Vengerov gives the piece a Nordic, Sibelian sound, which is unusual
and unexpected for Brahms.

The soloist plays his own cadenza, which is simple and unadventurous,
never going far from the motifs in the score.

Overall, Vengerov's interpretation is thoughtful, considered, and
deliberate.  Its appeal is subtle, not very exciting on the surface
but complex, refined, and artful.  Barenboim and the Chicago Symphony
contribute a firm foundation, not as driven as Reiner (with Heifetz)
but not plodding either.

The whole thing is very sleek and modern-sounding.  The recorded sound
is clear and detailed, instruments are well located and represented.  The
liner notes indicate that this was taped "live," but there is absolutely
no audible sign of an audience.

Many of the same comments regarding Vengerov also apply to the Sonata,
recorded a year later in the studio.  Here the violin sounds sweeter, and
there is more involvement and risk-taking on the part of both performers.
Barenboim again provides solid backing, but this time he seems to enjoy
what he's doing and does not make it sound so serious.  His keyboard
playing is for the most part delicate and controlled.  The impressive
variety of tone colors and effects tell of his years as a keyboard soloist.

Vengerov too produces a remarkably wide range of timbres from his
extraordinary instrument.  This range is all the more apparent when he does
not need to compete with a full orchestra.  And in the Sonata Vengerov is
able to exploit the lower ranges of his instrument more effectively than in
the Concerto.

Tempos in the Sonata are for the most part moderate and relaxed.
The finale is spirited and (dare I say?) passionate.  This contrast is
especially effective because of the restrained approach to the rest of
the piece.

Don't be put off by the slightly menacing cover photo.  This is serious,
honest, and reliable music-making.

Paul Geffen
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