Ludwig van Beethoven (1770 – 1827). Violin Concerto in D Op. 61 (Cadenzas by Kreisler), Romances Opp. 40 & 50.
- Conductor: Kenneth Jean
- Orchestra: Slovak Philharmonic Orchestra
- Artist: Takako Nishizaki
Beethoven's Violin Concerto in D major, Opus 61, his only completed concerto for the instrument, was written in 1806 and at first dedicated to Franz Clement, the principal violinist and conductor at the Theater an der Wien, who gave the first performance of the work, adding a further item of variations played with the violin upside down, an unusual testimony to his technical proficiency. A later edition of the concerto carried a dedication to Beethoven's friend Stephan von Breuning.
The concerto was well enough received in Vienna, although some complained of the excessive length of the first movement, one critic writing of the endless repetition of unimportant passages, which he alleged produced a tiring effect. It was not until 1844 that the work became part of the standard repertoire, when it was performed by Brahms's friend Joachim in London, with the orchestra conducted by Mendelssohn. Since then it has become a favourite with audiences and players, its position unassailable.
Beethoven, with more than usual assistance from a copyist, transcribed the Violin Concerto for piano and orchestra, adding cadenzas, the whole undertaken in response to a commission from the pianist and composer Clementi in London. Although Beethoven's piano cadenzas have been transcribed for violin, it is usual for soloists to prefer cadenzas from other sources better suited to a string instrument.
The first movement of the concerto opens with five ominous drum-beats, in a long exposition, goes on to introduce the principal material of the movement, leading to a treacherously exposed opening octave arpeggio for the soloist. The movement, in all its beauty and variety, continues in broadly classical form.
The Larghetto allows the violinist an accompanying role, before he finally comes into his own with a fine, singing melody, later to be embellished, before the weighty chords that introduce the final Rondo. Here the soloist introduces the first and principal melody, playing on the lowest string of the violin. An episode of peasant simplicity follows, and the movement continues in the prescribed form, the first theme re-appearing between contrasting sections. As the concerto seems about to end in a whisper, the composer re-asserts himself with two forceful final chords.
The two Romances for violin and orchestra were earlier works. The F major Romance was written in 1798 and the G major work apparently in 1801–2, possibly as slow movements for a C major violin concerto that had been started some years earlier, but was never to be finished. The Romances were published in 1803 and 1805, in Leipzig and Vienna, after being refused by the distinguished firm of Breitkopf & Haertel, to which they had been offered. They both have a perfection of their own and remain a significant part of the solo violin concert repertoire.
Reviews
“Nishizaki’s spontaneous performance is a match for many by more famous names. With excellent backing from the Slovak Philharmonic under Kenneth Jean, her playing is individual yet unselfconscious. The Larghetto is poised and serene, and the finale buoyant. The two Romances are also very well played. The digital recording is excellent, with resonant, spacious orchestral sound. A genuine bargain.” Penguin Guide
“Takako Nishizaki's silvery timbre and immaculate style are attractive and her lyrical phrasing very appealing, especially in the relaxed sections of the development of the first movement, while her reprise of the main theme after the Kreisler cadenza is a moment of real magic. … her slow movement is classically pure. The digital recording is clear and truthful, well balanced, catching the ambience of the Bratislava Concert Hall quite convincingly.” Gramophone