Search - Bohuslav Martinu, Václav Neumann, Czech Philharmonic Orchestra :: Bohuslav Martinu: Violin Concertos/Rhapsody-Concerto

Don't miss these concertos

John B Wolff | Ann Arbor, Michigan, USA | 05/05/2003

(5 out of 5 stars)

"The only reason for the five stars is that these are indispensable recordings of the two violin concertos. I would not want anyone to pass this up just because it has been rated four stars by others. It is worth more than its price just for the two concertos for violin. To get five stars, I have to ignore the Rhapsody. Suk really does not play it well. He is out of tune a good deal of the time and I agree, in general, with comments from the other reviewers.Do not deprive yourself of these wonderfully performed and recorded
violin concertos. Simply wonderful."

Three Czech Greats (performed by those who know...)

Giles Wade (wadedrew@nascr.net) | Hurst, Berkshire, England | 06/02/2001

(4 out of 5 stars)

"This is a recording of fine Czech music performed by fine Czech musicians. For the majority, if not all of the post-war years, Josef Suk has been the ambassador for his country?s violin-playing tradition. Here, he teams up with one of the best orchestras in Europe, and one of its outstanding conductors. Together they give award-winning performances of two of the greatest violin concertos of the 20th century.The recording of Martinù?s first violin concerto was made in November 1973, only a couple of weeks after its world premiere, which Suk himself had given (with Solti and the Chicago Symphony). Despite their ?newness? to the work, the Czech Philharmonic and Neumann here contribute extremely well to the overall performance in the recording.The second violin concerto is a different matter ? with thirty years in the public domain before this recording. Both soloist and orchestra would have been very familiar with the work when committing it to tape, and it shows ? there are some really beautiful passages on this CD, many of which are in the second concerto.Suk?s greatest asset as a violinist is his sweet tone. Particularly noticeable is the bell-like clarity of his E string passages, especially when played against the luscious, dark sound of the CPO strings. In this respect, the second concerto lends itself more to Suk?s playing.The second concerto also gives Suk plenty of opportunity to show how he can cut through the sound of a large symphony orchestra ? both in the high and low registers of the violin. That?s not to say that the CPO are too loud at any stage ? balance is not a problem with this recording. The Rudolfinium?s Dvorak Hall and Supraphon?s engineers did their job well (if indeed, the CPO gave them anything to do!)Occasionally in the first concerto, Suk is a little rough on string crossings, with the inevitable scratches. However, these are minor blemishes. Suk?s variety of tone, generally neat playing, and cheeky rhythmic emphasis all make for an exciting performance.The recordings of the violin concertos (rightly) won the Grand Prix du Disque de L?Académie Charles Cros in 1978.Unfortunately, the recording of the Rhapsody-Concerto for Viola (made 14 years later, in 1987) is a different story. Suk often plays the viola, but it is clear that he has come to the instrument from the violin, and is not a violist born-and bred.The Rhapsody-Concerto is one of Martinù?s later works, written in 1952. It is rarely played, and there are few recordings (with only two or three on amazon.com and amazon.co.uk). Nevertheless, this is a great work, and one where the viola is not portrayed as a melancholic instrument, in contrast to many other stalwarts of the instrument?s repertoire.There are many minor criticisms of Suk?s playing in the Rhapsody Concerto. Throughout, he seems unsettled. His vibrato is too narrow (although he has widened it from his violin vibrato), and this gives a neurotic edge to the performance. The intensity of his violin playing, and in particular, the intense tone from a slow, heavy bow stroke has not been transferred to the larger instrument. Frequently, Suk has to break slurs where Martinù did not mark in the score, which chops up the musical line.Most unforgivably, Suk seems in a hurry to get it all over with. Often, Suk?s first beat is so early it coincides with the upbeat from the orchestra ? and here I do not believe that Neumann is dragging! The CPO and their conductor play here with tons of energy and sensitivity, beautifully setting up every one of the music?s transitions between exuberance and gentleness.However, despite all these criticisms, it is clear that Suk and the CPO have more Martinù in the blood of their little fingers than most other performers. So, whilst Suk's recording leaves space to be bettered, it is still very good and is really the only CD for anyone who wants to add the Rhapsody Concerto to their collection."