Daniel Müller-Schott, Julia Fischer - Brahms: Violin Concerto and Double Concerto [SA-CD - CD compatible]
![Brahms: Violin Concerto and Double Concerto [SA-CD - CD compatible]](/images/Brahms-Violin-Concerto-and-Double-Concerto-SA-CD-CD-compatible-B000NA1X8U-L.jpg)
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Artist: Daniel Müller-Schott, Julia FischerComposer: Johannes Brahms
Conductor: Yakov Kreizberg
Orchestra: Netherlands Philharmonic Orchestra
Edition: Music CD
Format: Hybrid SACD - DSD
CD Release Date: 2007-04-24
Music Label: Pentatone
Soundtracks:
- Violin Concerto in D major, Op. 77: Allegro non troppo
- Violin Concerto in D major, Op. 77: Adagio
- Concerto for violin, cello & orchestra in A minor ('Double'), Op. 102: Allegro
- Concerto for violin, cello & orchestra in A minor ('Double'), Op. 102: Andante
- Concerto for violin, cello & orchestra in A minor ('Double'), Op. 102: Vivace non troppo - Poco meno allegro - Tempo 1
Music reviews of Brahms: Violin Concerto and Double Concerto [SA-CD - CD compatible]
Music Review: Young, thoughtful musicians at work
Rating: 5 Stars
Most of us have heard the story about Brahms attending a performance of one of his piano concertos, turning to his companion and saying, "You can play it that way, too." The story encapsulates a basic truth about great pieces of music: there are as many ways of approaching them as there are thoughtful musicians. I say "thoughtful musicians" advisedly, because there is a big difference between a good, or even great, performer and a thoughtful musician. There are many good performers; these days they are generally excellent technicians, with lovely tone. Some even strive for, and achieve, dramatic effect. The thoughtful musician goes several steps further: (s)he re-examines the piece, gets to know it intimately, and puts all of his/her technique, artistry, emotion and intellect at the service of the music. These musicians re-create the music rather than perform it, and we know the difference immediately.
Such musicians are rare, and Julia Fischer, even in her precocious early 20's, seems to be one of them. We see evidence of this in her handling of the Brahms Violin Concerto. Around the time of this recording, Ms. Fischer performed the piece twice in New York City, once with the New York Philharmonic under Lorin Maazel and again with the Dresden Philharmonic under Rafael Frubeck de Burgos. By all accounts, the two performances were quite different: relaxed, congenial and lyrical with Mr. Maazel, and fearless, agressive and assertive with Mr. de Burgos. It's difficult to see this as a lack of interpretive personality on Ms. Fischer's part, since each performance was cogent within itself . It is more likely that she continues to reassess the work and re-create it based on her insights, and those of her collaborating conductor, at the time of performance.
Ms. Fischer and Mr. Kreizberg here offer an interpretation different than either of the ones Ms. Fischer played in New York. This is an inward-looking, rapsodic performance, foregoing the more emphatic heroic fireworks . While some see the first movement of this concerto as an argument or struggle between the violin and orchestra, Fischer and Kreizberg present it as a conversation, more along the lines of Brahms' Second Piano Concerto. Tempi do fluctuate (especially in the first movement), but with a purpose. The rapsodic passages are taken more slowly than I've heard them, achingly beautiful and inhabiting a lyrical, emotive world where time is suspended. It's tough going to allow for this kind of flexibility and keep the movement from falling apart, and Kreizberg, to his credit, mostly succeeds. Fischer is lyrical, strong, firey or passionate depending on what the music demands. The second movement is one of the sweetest and most tender version I've heard, and the third, while not quite hell-bent-for-leather, is vibrant. I own three other versions of this piece -- Kogan/Bruch, Oistrach/Klemperer and Szeryng/Monteux -- and gladly add Fischer/Kreizberg to that august company.
The performance of the Double Concerto is more straightforward. The Double Concerto doesn't get the same attention that Brahms' violin or piano concerti do, and I believe this is due largely to the music's tendency toward emotional hystrionics (not something we usually associate with late Brahms). There are a few truly outstanding performances of this piece which remind us of the vigor and lyricism at its heart, and this is one of them. Fischer, Muller-Schott and Kreizberg approach the piece with youthful energy and vigor. Tempi are brisk, Brahms' more over-the-top wailings are kept restrained, and what we find is lyrical gem. This is probably one of the two or three best performances of this piece I've heard, one which blows off the cobwebs, opens the windows and lets in the fresh air.
The Netherlands Philharmonic performs like one of the best orchestras around, with gorgeous tone and excellent execution. Pentatone has done all of the musicians proud with spacious, smooth and sumptuous sound with natural instrument placement. I do not have an SACD player and so cannot comment on that layer.
There's a tendency amongst some of us -- myself included -- to praise performances from the past on major masterworks such as these. We do ourselves a disservice if we ignore what our young musicians have to say about them. Ms. Fischer doesn't sound or play like Mr. Oistrach or Mr. Kogan, or Mr. Heifetz for that matter. Nor should she. She may have something different to say about this piece in 5 years, or 10 or 20, but that doesn't make what she has to say about it now any less valid or moving. Amongst the younger violinists, the only other one I've heard who has approached this violin concerto with similar daring and personality is Anna Sophie Mutter in her startling performance with Kurt Mazur. Ms. Fischer doesn't take quite the risks that Ms. Mutter does, but she doesn't run afoul of grandstanding either. These young musicians have taken Brahms' injunction -- "You can play it that way too" -- to heart. Give a listen. I doubt you will be disappointed.
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