Here's a review of another CD of Martin's Violin Concerto I wrote a while
ago:
Musical Marriages
JEFF DUNN
Frank Martin (1890-1974). "Etudes for String Orchestra" (1955-56).
"Con-certo for Violin and Orchestra" (1950-51). "Maria Triptychon"
(1967-68). Stuart Canin, violin; New Century Chamber Orchestra
(Etudes); Berkeley Symphony Orchestra (Concerto, Maria); Sara Ganz,
soprano (Maria). New Albion NA086 CD.
Vishnevskaya and Rostropovich, DuPre and Barenboim ...How about
See-fried and Schneiderhan? This last, less-famous liaison, and two
metaphoric marriages -- those of conductor and orchestra, and orchestra
and concert hall--figure prominently in a new release from New Albion.
Soprano Irmgard Seefried and violinist Wolfgang Schneiderman were
the original, designated soloists for Martin's "Maria Triptychon,"
first performed in Rotterdam in 1969. As a married pair, they may
have been ideal for the parts, for Martin gave them unison passages
for much of their time together on the stage, an opportunity to
present a careful balance between two different timbres. That balance,
carefully realized by Lynda Russell and Duncan Riddell on a recent
Chandos release conducted by Matthias Bamert, regretfully is missing
here: Stuart Canin's slightly harsh and louder tone simply doesn't
mix with Sara Ganz's voice. Furthermore, at the crux (no pun intended)
of the Stabat Mater, "Dum emisit spiritum," the glorious spiritual
transformation that is supposed to take place just doesn't happen.
What we hear sounds more like matter-of-fact sight reading.
Could the reason be the end of another marriage, that stormy one
between conductor and orchestra? The Berkeley Symphony is here divorced
from its director Kent Nagano. No conductor credit is given, though
I must assume some control has been exercised by Canin, since he's
the music director of the New Century Chamber Orchestra. [I learned
after writing the review that Nagano actually DID conduct, but was
uncredited for legal reasons.] I believe certain works require an
interpretive stamp to succeed most fully. The "Maria Triptychon" is
one of these. And another divorce compounds the problem, that of
the listener from the texts. What is more important, to know that
Gail Edwards was a score reader and assistant for this production,
or know what Sara Ganz is singing in German and Latin?
Fortunately, the lack of conductor is not so much a problem in the
Violin Concerto. This was my first hearing of the work, and what a
masterpiece it is! There is a wonderful continuity of melodic line
reminiscent of the second Szymanowksi concerto. Although some of
Martin's characteristic restraint remains, both the first and second
movements build to powerful climaxes. Such a shame that a great
violin concerto like this rarely if ever see the concert stage, while
I'm subjected to a chain of Mendelssohn yawnfests year after to year!
Canin does a fine job as soloist too. Too bad another marriage puts
a fly in the ointment, that of orchestra and concert hall, and/or
orchestra and recording engineer. For the terrific climactic passages
in this work seem marred by a lack of depth and separation: we have
tuttis in a telephone booth.
Some marriages can succeed, however! With the "Etudes for String
Orchestra," we have a group marriage of the 15 New Century Chamber
Orchestra virtuosi which took place at St. Stephen's Church in
Belvedere, a far better hall than the Los Medanos College location
used for the Berkeley Symphony. Their superb rendition of these
beautiful and challenging etudes proves that divorcing the conductor
can work - if the group is small enough and well rehearsed. This is
a performance to be proud of. The eerie, quasi-jazzy pizzicato
movement is a must-hear!
Recommended unreservedly for the Etudes, and repertoire-wise for the
Concerto. For the marriage made in Heaven, listen to the Chandos
"Maria Triptychon."
"Jeff Dunn" <[log in to unmask]>
|
