Mendelssohn - Violin Concertos
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Label: Hyperion
Cat No: CDA67795
Format: CD
Number of Discs: 1
Genre: Orchestral
Release Date: 1st October 2012
Contents
Works
The Hebrides Overture 'Fingal's Cave', op.26Violin Concerto in D minor, op.post.
Violin Concerto in E minor, op.64
Artists
Alina Ibragimova (violin)Orchestra of the Age of Enlightenment
Conductor
Vladimir JurowskiWorks
The Hebrides Overture 'Fingal's Cave', op.26Violin Concerto in D minor, op.post.
Violin Concerto in E minor, op.64
Artists
Alina Ibragimova (violin)Orchestra of the Age of Enlightenment
Conductor
Vladimir JurowskiAbout
The young violinist Alina Ibragimova is already established as an admired recording artist, standing alongside great artists of the past and present with her versions of Bach and Beethoven’s violin works.
She appears on this latest release with the Orchestra of the Age of Enlightenment and Vladimir Jurowski (in his Hyperion premiere) in a programme which includes a classic of the concerto repertoire: Mendelssohn’s Violin Concerto in E minor, Op 64. Ibragimova’s is a glittering, knife-edge performance, her playing a portrayal in itself of the music’s passion held in control through exquisite craft.
The Violin Concerto in D minor - an unusual and welcome pairing - is an early work, written when the composer was only thirteen. As with Mendelssohn’s other juvenile works, it is extraordinarily accomplished and exceedingly charming.
She appears on this latest release with the Orchestra of the Age of Enlightenment and Vladimir Jurowski (in his Hyperion premiere) in a programme which includes a classic of the concerto repertoire: Mendelssohn’s Violin Concerto in E minor, Op 64. Ibragimova’s is a glittering, knife-edge performance, her playing a portrayal in itself of the music’s passion held in control through exquisite craft.
The Violin Concerto in D minor - an unusual and welcome pairing - is an early work, written when the composer was only thirteen. As with Mendelssohn’s other juvenile works, it is extraordinarily accomplished and exceedingly charming.
Sound/Video
Paused
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1Violin Concerto in E minor - I.Allegro molto appassionato
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2Violin Concerto in E minor - II.Andante
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3Violin Concerto in E minor - III.Allegretto non troppo...
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4The Hebrides
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5Violin Concerto in D minor - I.Allegro
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6Violin Concerto in D minor - II.Andante
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7Violin Concerto in D minor - III.Allegro
Europadisc Review
This is a really lovely disc. Times were when Mendelssohn's E minor Concerto was
invariably coupled on record to Bruch's G minor; freed from those
shackles, it has more recently featured as a makeweight Beethoven's Violin Concerto.
But on this new, all-Mendelssohn CD it emerges as a self-standing
masterpiece in its own right, combining exuberance, poise, beauty and
formal mastery in equal measure. All these qualities are brilliantly
highlighted by Alina Ibragimova's wonderfully fluid playing, in what
must be one of the most viscerally exciting accounts of the work to be
committed to disc.
Ibragimova uses a 1770s instrument by the Venetian violin maker Anselmo Bellosio, and from it she coaxes a remarkably flexible tone: the fortes forthright and bright, but clear and never too weighty; the pianissimos exquisitely, fragilely hushed. There are few accounts that so stylishly bring out the sheer range of expression in this music, and this is superbly supported by the OAE under Vladimir Jurowski. The woodwind in particular are on blistering form, not least Antony Pay's peerless clarinet playing. The interplay of speeds within each movement is brilliantly judged by both soloist and conductor: the first movement has a thrilling forward momentum, yet is supple enough to broaden out marvellously for the heart-stoppingly delicate second subject, and builds to a tremendously exciting coda. In the central Andante, Ibragimova deftly traces the subtle changes of mood, suitably passionate in the central section and sensitively matched throughout by the orchestra, the ending beautifully captured. The finale — one of the fastest I've heard — fairly crackles with excitement, yet with a freshness and gossamer lightness of touch that recalls Mendelssohn's Midsummer Night's Dream music. I retain my affection for Monica Huggett's curiously underrated 1992 recording, soft-grained and beautifully delivered on her sweet-toned 1618 Amati, with the OAE under Mackerras; but Alina Ibragimova's new account now tops my list of 'period' performances, and can more than hold its own against the greats of the past.
Jurowski and the OAE come fully into their own in a driven and exceptionally vivid account of the Hebrides overture. Here, the period strings are really made to tell, gently rocking at the opening, turbulent in the transition, and just expansive enough in the famous second subject. Bitingly pungent wind playing adds to the keenly evoked sense of Romantic adventure and distant Ossianic tales. If there is one small gripe, it is that, in the otherwise superbly balanced recording, the timpani sound a shade cavernous — or is this perhaps appropriate for Fingal's Cave?
The disc is completed with a delightfully idiomatic performance of Mendelssohn's early D minor Concerto for violin and strings. It's a fascinating work by a thirteen-year-old composer still absorbing the influences of earlier eras. The first movement is full of nods towards C.P.E. Bach in the tuttis, yet the solo writing is much more classical, whilst the central Andante has a Mozartian tenderness, and the rondo finale bustles along with gypsy-style high spirits. Alina Ibragimova's tone is perfectly judged throughout, and she is alive to the various stylistic references in the score, melding them into the most persuasive account of this work I can imagine.
With works spanning three decades of Mendelssohn's too-brief career, and complemented by detailed, authoritative notes from Mendelssohn scholar R. Larry Todd, this disc is a real winner. Highly recommended!
Ibragimova uses a 1770s instrument by the Venetian violin maker Anselmo Bellosio, and from it she coaxes a remarkably flexible tone: the fortes forthright and bright, but clear and never too weighty; the pianissimos exquisitely, fragilely hushed. There are few accounts that so stylishly bring out the sheer range of expression in this music, and this is superbly supported by the OAE under Vladimir Jurowski. The woodwind in particular are on blistering form, not least Antony Pay's peerless clarinet playing. The interplay of speeds within each movement is brilliantly judged by both soloist and conductor: the first movement has a thrilling forward momentum, yet is supple enough to broaden out marvellously for the heart-stoppingly delicate second subject, and builds to a tremendously exciting coda. In the central Andante, Ibragimova deftly traces the subtle changes of mood, suitably passionate in the central section and sensitively matched throughout by the orchestra, the ending beautifully captured. The finale — one of the fastest I've heard — fairly crackles with excitement, yet with a freshness and gossamer lightness of touch that recalls Mendelssohn's Midsummer Night's Dream music. I retain my affection for Monica Huggett's curiously underrated 1992 recording, soft-grained and beautifully delivered on her sweet-toned 1618 Amati, with the OAE under Mackerras; but Alina Ibragimova's new account now tops my list of 'period' performances, and can more than hold its own against the greats of the past.
Jurowski and the OAE come fully into their own in a driven and exceptionally vivid account of the Hebrides overture. Here, the period strings are really made to tell, gently rocking at the opening, turbulent in the transition, and just expansive enough in the famous second subject. Bitingly pungent wind playing adds to the keenly evoked sense of Romantic adventure and distant Ossianic tales. If there is one small gripe, it is that, in the otherwise superbly balanced recording, the timpani sound a shade cavernous — or is this perhaps appropriate for Fingal's Cave?
The disc is completed with a delightfully idiomatic performance of Mendelssohn's early D minor Concerto for violin and strings. It's a fascinating work by a thirteen-year-old composer still absorbing the influences of earlier eras. The first movement is full of nods towards C.P.E. Bach in the tuttis, yet the solo writing is much more classical, whilst the central Andante has a Mozartian tenderness, and the rondo finale bustles along with gypsy-style high spirits. Alina Ibragimova's tone is perfectly judged throughout, and she is alive to the various stylistic references in the score, melding them into the most persuasive account of this work I can imagine.
With works spanning three decades of Mendelssohn's too-brief career, and complemented by detailed, authoritative notes from Mendelssohn scholar R. Larry Todd, this disc is a real winner. Highly recommended!
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