Search - Samuel Barber, Erich Wolfgang Korngold, William [composer] Walton :: Barber, Korngold, Walton: Violin Concertos

A Rising Violin Star Plays Three 20th-Century Romantic Violi

J Scott Morrison | Middlebury VT, USA | 12/06/2006

(5 out of 5 stars)

"This disc featuring Manitoba-born violinist James Ehnes (pronounced 'Ennis') confirms for me my suspicion that he is one of the best of the younger generation of violin soloists on the concert circuit. I had heard and greatly admired his earlier recordings of Bach's Unaccompanied Violin Partitas and of Mozart's five Violin Concerti, but this is the first I've heard him play anything from the Romantic violin concerto literature. And although these three concertos -- those by Korngold, Barber, and Walton -- are from the twentieth century they are quintessentially Romantic in thrust.



Korngold's luscious concerto, written in a style I've always thought of as '1940s Hollywood chromatic' (think of Raksin's 'Laura' or Korngold's own film scores) was premiered by Heifetz in 1947 (recorded by him in a best-selling recording of the period) and incorporates themes from several of Korngold's film scores (e.g., Another Dawn, Juarez, Anthony Adverse and The Prince and the Pauper). Ehnes's tone is perhaps less cholesterol-rich than some but he plays this crowd-pleasing work with conviction and brilliance, using robust or delicate tone where called for. He is particularly effective in the songful middle movement and in the set of variations that make up the finale.



The story is well known of how Barber was commissioned to write his violin concerto for the protégé of a rich industrialist only to have the young violinist refuse to play it because the finale was technically too difficult. The first two movements brim with ultra-lyrical themes that are underscored by plush orchestral accompaniment that place the soloist directly in the spotlight. The finale -- presto in moto perpetuo -- is a knuckle-busting showpiece. All three movements are given sensational performances by Ehnes.



William Walton's Violin Concerto has been given marvelous recordings by Kyung-Wha Chung, Lydia Mordkevitch and, best of all, by Nigel Kennedy, the latter with the spectacularly effective orchestral accompaniment by the Royal Philharmonic conducted in nonpareil fashion by André Previn. Tough competition. But Ehnes, accompanied here as in all three concerti by the superb Vancouver Symphony under Bramwell Tovey, is definitely in the same league as the others. The Walton is not, in its first two movements, as technically demanding as the Korngold or Barber, but it may be the most emotionally complex of the three; it does not do well in the hands of young and emotionally inexperienced violinists. One need have no fear of a deficit in that regard by Ehnes. This is a superb rendition that eschews flash for emotional radiance. The Walton's finale -- presto capriccioso alla napolitana -- is fiercely difficult, however, written as it was for Heifetz who had asked for something demanding; it is a tarantella with a slew of off-accents, awkwardly placed (but breathtaking) double-stops and superhumanly complicated bowing. Ehnes manages all this with aplomb.



This disc is quite frankly a must-have for lovers of these three concerti. I for one will be eager to hear anything Mr Ehnes chooses to record and will certainly be on the look-out for Ehnes performances anywhere near my neck of the woods.



Strong recommendation.



Scott Morrison"

Just Heard The Korngold Live

George John | Houston, TX United States | 11/27/2006

(5 out of 5 stars)

"I have this on order as of today, but since there are no reviews, I thought I'd report my thoughts on James Ehnes's playing of the Korngold at the November 26, 2006, Houston Symphony concert -- it was absolutely fantastic!



Hilary Hahn was originally scheduled to play, but could not due to an illness. Ehnes was asked to fill in on Monday. While I'm a fan of Ms. Hahn, I think she would be hard pressed to play the Korngold any better than James Ehnes. How can you surpass perfection? -smile-



As for the Korngold, I had not heard it in thirty years. In hindsight, I greatly regret this. It is a magnificent work. At the end of the first movement, the word "WOW" kept going through my head. I found the second movement so emotionally moving, I had to bite my lip to keep from falling apart and disturbing the audience. A plus was the sound of James Ehnes's Stradivarius (on loan), which was so beautiful, especially in the upper ranges of the instrument.



This was a truly remarkable performance, by a truly remarkable talent. I think we will be seeing much more from this relatively young Canadian violinist in the future. I heard Perlman, Zukermann, and Yo-Yo Ma early in their careers. It would not surprise me in the least if Ehnes eventually reaches their ranks in terms of popularity. His playing very well may already be there. We will see.



After I receive the CD and have listened to it, I will edit this review. I have also ordered Shaham to compare.



As an aside, I remain delighted by the exceptionally high, world class level of playing by Houston Symphony. At this time, I can't think of a single orchestra that I would prefer to hear over this one. Eschenbach mined the diamonds, and Graf has cut and polished them to perfection.



"

Adequate, but there are better recordings

Ursiform | Torrance, CA USA | 12/03/2009

(3 out of 5 stars)

"Of the three concertos I am most familiar with the Korngold, and already had recordings by Heifetz with Wallenstein and the LA Phil [1], and Perlman with Previn and the Pittsburgh Symphony [2]. So I cued the three up.



The 1953 Heifetz recording falls short in recorded sound, with the violin sounding thin and the orchestra distant. But Heifetz plays the piece like it was written for him (well, OK, it was), and it is interesting to hear his mastery of it. His tempo is the fastest, bringing it in at about 22 minutes. The Perlman benefits from modern sound, with the violin sounding rich and the orchestra clear. While setting a somewhat slower tempo (24 minutes), the playing is strong and compelling. The Ehnes, despite being almost twenty years newer, fails to match the Perlman in sound quality, with the violin sounding distant and the orchestra mushy. Ehnes sets the slowest tempo (25 minutes), and while Heifetz and Perlman give the sense of having more they could give if they had too, Ehnes sounds like he is playing flat out, especially in the finale (Allegro assai vivace). After hearing the Perlman the Ehnes did not impress.



By coincidence, as I was preparing to write this review, the local radio station announced it was going to play the Hilary Hahn recording of the Barber [3]. So I listened to that, then followed it with the Ehnes recording. In the Hahn recording the violin was out front and razor sharp. She seemed at all times totally in command of the music. The Ehnes, again, suffered from the recorded sound. In the difficult final movement (Presto in moto perpetuo) Hahn plays as though to say "ha, why don't you find something that challenges me"; by comparison, Ehnes seems to be holding on for dear life. (To be fair, this probably wouldn't have been so noticeable had I not listened to the performances back-to-back.)



The Walton I found less interesting, and again the recording quality detracted.



Listened to in isolation (as I did when I received it) this is a pleasant enough album. But heard back-to-back with other recordings it falls short.



[1] Heifetz plays - Korngold: Violin concerto / Rozsa: Violin Concerto; Tema con Variazioni (with Gregor Piatigorsky) / Waxman: "Carmen" Fantasy (recordings from 1946-1963)



[2] Itzhak Perlman - Goldmark & Korngold: Violin Concertos / Previn



[3] Hilary Hahn - Barber & Meyer: Violin Concertos"