Customer Reviews

Lalo: Symphonie Espagnole; Saint-Saens: Violin Concerto; Ravel: Tzigane; Maxim Vengerov

5 star:		(4)
4 star:		(1)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

Edouard Lalo's 'Symphonie Espagnole' and Camille Saint-Saens' Violin Concerto #3 were comissioned by violin virtuoso and composer Pablo Sarasate, known for the beauty and sweetness of his tone, the ease with which he played even the highest notes on his instrument, and his stunning technique. Since the great young Russian violinist Maxim Vengerov not only shares these qualities, but adds to them both heart and superb imagination, he is an obvious choice to record these French masterpieces. However, largely because I am well aware of just how much competition Vengerov has from just about every other great violinist who ever lived and recorded, I have balked at buying many of his CDs, especially of very standard works, because I wanted to 'shop around' to find my favorite renditions and not have the many duplicates I do of operas and operatic recitals. I'm sure many classical music lovers have the same problem. Vengerov's jaw-dropping Britten/Walton album earlier this year, however, made me decide to at least listen to, if not actually buy, every CD he records in the future, and if necessary replace them if I like another violinist's rendition better. The other major factor in my decision to buy this CD was my eagerness to hear the great Antonio Pappano conduct purely orchestral as opposed to the operatic and vocal repertory he is more famous for. The partnership of these two brilliant, passionate and charismatic artists was just too good an opportunity to pass up.

And it truly is a partnership. In this expressive, dramatic, perhaps truly `operatic' music, Pappano proves to be just as supportive to instrumental soloists as he is to singers; he and the Philharmonia hang on Vengerov's every note. Considering just how many liberties a violinist can take in these works, that can't have been easy! As usual, Pappano is superb in building tension to dramatic climaxes and giving the music real punch and elan. Even more importantly, one of Pappano's specialties is coaxing gorgeous, radiant sound from orchestral strings sections (most noticeable here in the Saint-Saens) - all the more extraordinary considering he is a pianist and not a violinist! Vengerov indicated in recent interviews that he and the conductor have formed a very ardent mutual admiration society, and this is obvious listening to this album.

Throughout the program, Vengerov plays a 1727 Stradivarius that belonged to the legendary violinist Rodolphe Kreutzer (of Beethoven's `Kreutzer Sonata' fame), and he is more than worthy of this magical instrument. Best of all, it is clear that he is having a very good time! Vengerov has played these pieces from his early childhood and as he says in his booklet essay, they evoke strong feelings of nostalgia in him. They also clearly inspire his imagination, his expressivity, and his strong sense of drama.

In the 'Symphonie Espagnole', the violinist becomes a swaggering toreador in the first movement, a sprightly and good-humored seducer in the second, a strong, passionate dancer in the third and a serious, sad man (perhaps in mourning?) in the fourth. The famous final Rondo movement is a triumph of joy and energy, and note also the way Pappano handles the crescendo and decrescendo at its start.

The highlight of the disc, however, is the second movement of the Saint-Saens. This is Vengerov's favorite part of the concerto and he is absolutely sublime, making his violin sing with such purity and sweetness that one may cry. I am reminded of the Largo from the Bach Double Violin Concerto; as Vengerov gets higher and higher and softer and softer, it is as if one is ascending to some higher, ecstatic dimension (as he puts it, 'the music melts little by little, taking us to other planets, stars, spheres'). The contrastingly zingy outer movements of the concerto are played with equal aplomb.

Maurice Ravel wrote 'Tzigane' for the Hungarian violinist Jelly D'Aranyi, who inspired him by her spectacular playing of Gypsy melodies at a party. It is intended as a showpiece and Vengerov more than delivers. From the long, spare, and incredibly difficult solo cadenza (the orchestra doesn't come in for almost four minutes) to the bewildering pyrotechnics that conclude the piece, this Russian violinist obviously feels a strong kinship with the Gypsies this piece evokes, and so does his Italian-British-American conductor.

EMI's sound engineering is at its usual high standard, although some may complain that the violinist is placed too far forward. In addition to Vengerov's comments, the documentation also consists of a fine essay on the three works by Robert Orledge (both in English, French, and German), and portraits of all the composers. It is a pity that EMI provides no biographies of either Vengerov or Pappano.

I am not the expert on violinists and violin repertory that I am the human voice, so unlike some who may review this disc, I cannot say with any degree of authority whether or not it is 'the best'. Nevertheless, Vengerov's (and Pappano's!) renditions of the works recorded here are so superb that they are a perfect introduction for listeners new to the works or those who want them in modern sound, and I imagine that even many who collect violin recordings will find little to fault about them.

I have hesitated acquiring this CD since I own already a spellbinding account of Lalo's "Symphonie Espagnole" performed by Vadim Repin with Kent Nagano conducting the London Symphony Orchestra. But frankly, once again, Vengerov's performance of this piece and of the others, is the one to acquire. All three have very demanding solo passages, which Vengerov handles adroitly, with ample warmth and polish. I was stunned with how well he plays all three works, which are among the most difficult I have heard for a solo violin accompanied by an orchestra. Somehow this young Siberian manages to play all with more than a hint of Gypsy soul, as though he was familiar with the traditional Gypsy melodies which inspired undoubtedly Lalo, Saint-Saens, and especially, Ravel, in composing these works. Vengerov's riveting performances of all three works is accompanied by superb playing from the Philharmonia Orchestra under the baton of Italian-American conductor Antonio Pappano. Without question, this is yet another exceptional CD from Vengerov which should please his fans and other admirers.

Maxim Vengerov is one of my favorite musicians on the planet. His interpretation here of Lalo's Symphonie Espagnole is marvelous. For me, the way Maxim offers Lalo's work suggests his passion for the piece. No mistake owning this CD at all...

The CD came quickly and was in perfect shape. It was a gift for my daughter who has enjoyed it over and over again, as have the rest of us. I am very well pleased with the product and service! Thank you!

I ordered this CD for my dad at his request, solely for the Saint-Saens Violin Concerto, which turned ut to be in three parts. The middle section of 1-2 minutes was indeed interesting, but the other two showed a lack of virtuosity and a lackluster interpretation that was underlined even more in the Lalo and Ravel solo standards. Vengarov MIGHT show promise, but I think the particular section that caught my dad's ear was him at his best, and it just isn't enough to hold together even that particular piece. And the other two major pieces were, frankly, disappointing in quality of the musicianship. Vengarov's looks may bring him fandom among the young and European, but my dad was disappointed and I was underwhelmed. I wanted to return the CD, but it would have made dad feel more badly, since it was "his" first Amazon purchase and his choice. Give him another 20 years. We'll give it away. Also, there are many other stellar violinists out there who are going to stand the test of time much better; they're his age, more or elss, and have undeniably possess and use the full range of gifts and training.Chun Hee, and even Joshua Bell (of whom I've never been a fan) for example. But to me, no one compares to Perlman and others who have created universal, eternal history. They set an unimaginable standard that leaves Vengarov firmly on the pavement--and in this CD, flat on his feet. I should have known by the "stardard" list of contents.

Like a lot of recordings by Vengerov, this one mates a couple of well known concertos from the Romantic era to a high profile orchestra and conductor, in this case Anthony Pappano and the Philharmonia Orchestra. And, like a lot of Vengerov recordings, these are good readings that lack the kind of fire and imagination that make them stand out from the crowd.

This isn't to say it's bad work; far from it. Indeed, Pappano begins the Lalo "Symphonie espanole" all fire and brimstone, as if it is his initiation rite for entry to the League of Fiery Italians. His hard charge soon cools, however, and he continues throughout the CD as a thoughtful mercenary supporter of the soloist.

Vengerov plays this music with a thinner tone than I've heard from his before, one that seems to demarcate him from the school of Oistrakh and other humanists. His tone in the big minor key items in so lean he can't pass for Perlman, whose recording of the same pieces led by Barenboim has set critics atwitter for some years. Vengerov displays little virtuosity, as well, seeming content to follow the score markings.

The bottom heavy, bass thumping recording probably does something to magnify the thinness of Vengerov's tone, but so does the companionship or lack of same between the partners.

Where Pappano wants to plow ahead with fire and brimstone, Vengerov's entries are almost always antithetical, as if the partners never discussed how they were going to begin the concertos. Once Vengerov makes his entry, Pappano is always the appropriate supporter, gently leading the Philharmonia along so as not to show up or cover up the big time soloist. His work in this regard is exemplary throughout as is the Philharmonia playing.

The tubby recording -- which is also exceptionally wide ranging -- does not always let you hear everything the way it probably sounds in a concert hall. I can't tell if engineering, the recording venue (Lyndhurst Hall, Air Studios, London), or the partners are responsible for this but the recording cannot be considered top flight for its era.

This CD is not likely to topple your old or new favorites in this repertoire. I continue to enjoy Alfredo Campoli's version of the Saint Saens 3rd Concerto more than others even though it has never shown up on CD. I don't have a favorite version of the Lalo and not much going on here converted me to this recording.

Just a partial comment on Tzigane. I've been doing a comparative survey of Ravel's showpiece and I borrowed this disc from the library. Vengerov's is one of the ugliest Tzigane I have heard, and it starts with the first note, which he attacks so brutally that it sounds like he is adding a semi-tone appoggiatura. Vengerov (abetted by Pappano) seems to think that to give a Gipsy character you need to brutalize the phrasings and play accordion with tempos. How contemptuous to Gispsy fiddlers! I'm not advocating a tame approach to Tzigane, but there is one step you must not cross lest expression becomes schmaltzy distortion - and Vengerov has enthusiastically crossed it. Just one more example: I'm not against adding an unprescribed "sul ponticello" at the beginning of the coda (8:34) - Midori does it in her live recording with Robert McDonald (Midori - Live at Carnegie Hall) and it sounds great, to make one regret that Ravel didn't actually write it. But to that Vengerov adds grotesque glissandos - what is it supposed to evoke, a tipsy Gipsy fiddler about to barf? Vengerov is over the top of acceptable excesses. His Tzigane sounds like Bartok or even (early) Ligeti, rather than like Ravel. Other than that, his technical means are impressive, his tone remains beautifully pure in his harmonics, and past these barfing glissandos his final acceleration is exhilarating and very showy - which is just what it should be.

I have no special insights on Lalo's Symphonie espagnole and Saint-Saens' Violin Concerto. Hopefully Vengerov and Pappano are more disciplined here.

And a post-script from June 23: so, I'm getting unhelpful votes on this one. What is "unhelpful" about it? Is it not argumented? Is it that I don't comment on Lalo and Saint-Saens? Or is it rather, as I suspect, that I've ruffled the feathers of a couple of Vengerov worhsipers, who found no better than to express their contrary opinion (that's their entire right of course - I'd prefer arguments, though) by an "unhelpful" vote?

Worshipers - a strange breed. For some reasons (and some may be very good), they will dote upon an artist, and from that moment, apparently they will simply stop listening: no matter what the artist does, how he plays, they will wildly cheer (and it is not that they've listened to many other versions, or even that they believe they need to), and whoever dares express even the shadow of a doubt, however argumented it is, will be anathema.

Well - I have decided to please them and re-write my review:

"Just a partial comment on Tzigane. I've been doing a comparative survey of Ravel's showpiece, and Vengerov wins, hand down. It is simply the very best version ever recorded - not that I've heard them all, but I can't imagine Tzigane played better. From the first note, it jumps at you: Maxim attacks it with incredible frenzy, so much so that it sounds like he is adding a semi-tone appoggiatura. What a great touch! Vengerov - masterfully backed by Pappano - is one of the rare fiddlers to really give Tzigane its Gipsy character, hurling into the phrases with a no holds barred attitude and with incredible and entirely idiomatic freedom of tempo. Gispsy fiddlers (to say nothing of all the others), listen to this, it'll be a lesson for all of you! What a change from all those tame approaches to Tzigane, that seem to take this for elegant "musique française" rather than all stops out Gispy fiddling. Just one more example: not only does Vengerov play the beginning of the coda "sul ponticello" (8:34) - others have done that, and although it is true that Ravel didn't prescribe it, it is well known that there is a lot, in matters of tempos and expression, that he simply did not write down in his scores - , but he also adds swooning glissandos, evoking some tipsy Gipsy fiddler about to barf. I find it irresistible, and sooooo much in character (and if you want to convince yourself, just watch the films of Emir Kusturica. It is a well-know cultural fact that Gipsy fiddlers are permanently drunk and about to barf). Vengerov is way above the rest of the competion, making his Tzigane sounds like Bartok or even a forerunner of Ligeti. Needless to say, his technical means are impressive, his tone remains beautifully pure in his harmonics, and his final acceleration in the coda is exhilarating and wonderfully showy. And though I have no particular insights on the compositions of Lalo and Saint-Saens, take my word for it: they are in the same league. Don't miss this disc!"

So now I hope I'll get the "helpful" votes.

The russian violonist respond with rare vigour to this french program. The "Symphonie espagnole ", which is more like a violin concerto, is the most joyful piece with a vigorus intermezzo. But you must hear the "Tzigane" from Ravel. Transcendant virtuosity beginnning with a long vitriolic and acid solo phrase (the orchestra directed by the excellent Antonio Papano will only begin at 3'52 minutes !), this piece will go directly to your soul. Be prudent;this is not easy music. Far more difficult to appreciate than it was the case in the Britten or Walton concertos. Vengerov, in playing wonderfully this French program, proves he's able to play anything with his heart, a rare instinct, and with full intensity. We are very far away from the the "pink pieces of candy" recorded with the title "Vengerov and Vittuosi" (with Vag Papian at the piano - I hate this Cd ).

Here, you will have to work with your heart and your brain to enjoy most of the pieces; and I liked this exercice; truly tough! Vengerov gives me the opportunity to practice my tolerance with this acid Tzigane.

Viva Ravel ! Viva Vengerov! Vive "les Francais"!