Beethoven & Mendelssohn Violin Concertos Viktoria Mullova

• 1 1. Allegro ma non troppo 23:10
• 2 2. Larghetto 08:16
• 3 3. Rondo (Allegro) 09:26
• 4 1. Allegro molto appassionato 12:52
• 5 2. Andante 07:06
• 6 3. Allegro non troppo - Allegro molto vivace 07:11
• Total Runtime 01:08:01

Info for Beethoven & Mendelssohn Violin Concertos

Interesting this, on a number of counts. Viktoria Mullova brings quite different qualities to bear on both works, chaste and unruffled in Beethoven, more demonstrably romantic in Mendelssohn, her vibrato marginally more intense and with subtly negotiated slides. Sir John Eliot Gardiner is an attentive collaborator who in Beethoven's first movement points up contrasts between a flowing legato and the forceful stamping of the timpani-inspired main idea, and lends added animation to various scale-like ascending passages.

Ottavio Dantone provides flamboyant cadenzas, and the sum effect is of a considered, breathing encounter between the epic and the intimate, the full tutti tower blocks spasmodically dominating an otherwise serene landscape.

In Mendelssohn's Concerto much thought has gone into fashioning the finale, taken at a leisurely tempo and with the orchestra audibly appropriating and distributing elements of the soloist's opening phrase. Few performances make such a gripping feature of the movement's dialogue element and Mullova again bows a bright, mercurial solo line. Gardiner takes Mendelssohn at his word in stressing the first movement's Allegro molto appassianato, not by pushing the tempo (which he never does) but by applying precisely the right degree of weight and pressure to key tutti - much aided, incidentally, by the lowered pitch. The booklet warns us of 'alternative or original readings in [the] interpretations of both works', early scores having been consulted as guidance. Among these 'alternative' readings are a brief transposition upwards in the first movement of the Beethoven (1215"), then downwards in the first movement of the Mendelssohn (139"), and some substantially altered notation at the close, ie at 628", of Mendelssohn's second movement. Nothing too drastic but interesting if you think you know what's coming. I'm not entirely sure whether Mullova's very occasional tendency to sidestep the centre of the note is intentional. I'm thinking of T1 into Beethoven's first movement and 255" into Mendelssohn's first, minuscule deviations, but with playing that is in other respects so pristine, momentarily distracting.

Credible digital rivalry centres, in the first instance, on Joshua Bell with Sir Roger Norrington, similarly chaste and transparent (the Mendelssohn especially, albeit with a newly fashioned cadenza of Bell's own devising) but not on period instruments. I still derive much pleasure from Bell's Mendelssohn, what with Norrington's discreet conducting and the textural beauty of the Camerata Salzburg's playing (the flutes especially). The finale in particular is a real joy. Bell's Beethoven is marginally warmer than Mullova's, and his own first-movement cadenza is more playful and ingenious than Dantone's. I love his meaningful asides, including a brief hint at the Moonlight Sonata.

Two additional CDs couple Beethoven's Concerto and Romances together, Thomas Zehetmair with the period-instrument Orchestra of the 18th Century under Frans Brüggen being more forceful and spontaneous than the stylised (but still very enjoyable) Gidon Kremer with the COE under Nikolaus Harnoncourt. Both use cadenzas with timpani based around Beethoven's own.

Zehetmair is my current digital first choice for the Beethoven, Bell with Norrington for the Mendelssohn, though Gardiner's masterful account of the orchestral score is well worth hearing. Mullova was sweeter and fuller-toned in her earlier take on the Mendelssohn under a comparatively bland Sir Neville Marriner, but her current, slimmer self (violinistically speaking, of course!) marks an interesting curve of development that her many fans could profitably investigate. (Rob Cowan, Gramophone)

Viktoria Mullova, violin
Orchestre Révolutionnaire et Romantique
John Eliot Gardiner, conductor

Recorded at The Colosseum, Watford, London, England, June 2002

Viktoria Mullova studied at the Central Music School of Moscow and the Moscow Conservatoire. Her extraordinary talent captured international attention when she won first prize at the 1980 Sibelius Competition in Helsinki and the Gold Medal at the Tchaikovsky Competition in 1982 which was followed, in 1983, by her dramatic and much publicized defection to the West. She has since appeared with most of the world’s greatest orchestras and conductors and at the major international festivals. She is now known the world over as a violinist of exceptional versatility and musical integrity. Her curiosity spans the breadth of musical development from baroque and classical right up to the most contemporary influences from the world of fusion and experimental music.

Her interest in the authentic approach has led to collaborations with period instrument bands such as the Orchestra of the Age of Enlightenment, Il Giardino Armonico, Venice Baroque and Orchestre Révolutionnaire et Romantique. She has a close association with harpsichordist Ottavio Dantone with whom she tours and which led Tim Ashley to write, “To hear Mullova play Bach is, simply, one of the greatest things you can experience…” in the Guardian. Her recording of Bach’s solo sonatas and partitas represents a significant milestone in Viktoria’s personal journey into this music. The recording received 5-star reviews from all over the world and she is embarking on an international several season-long, series of solo Bach recitals.

Her ventures into creative contemporary music started in 2000 with her album ”Through the Looking Glass“ in which she played world, jazz and pop music arranged for her by Matthew Barley. Her exploration continues, commissioning works from young composers such as Fraser Trainer and Thomas Larcher and she has recently released a new CD ”The Peasant Girl“, a project with the Matthew Barley Ensemble in which they perform music from a diverse musical canvas with roots in classical, gypsy and jazz. There will be a much-anticipated performance of this project at the BBC Late Night Proms in August 2011 with future concerts in Russia, Paris, Germany, Italy and the UK.

Her rich musical diversity has been celebrated in several high-profile residencies, including London’s Southbank, Vienna’s Konzerthaus and in 10/11 she was the London Symphony Orchestra’s ”Artist in Focus“. In 2011/12 she is Artist in Residence at the Auditorium du Louvre in Paris and Musikfest Bremen.

As a recitalist, she regularly performs with Katia Labèque and she has recently formed a duo with the fortepianist Kristian Bezuidenhout, with whom she has recorded Beethoven sonatas. A familiar face on the international concert scene, she appears regularly with the world’s major orchestras and conductors. In the 11/12 season she appears with, among others, The Philharmonia and Esa-Pekka Salonen, Scottish Chamber Orchestra and Robin Ticciati, Swedish Radio Symphony, again with Esa-Pekka Salonen, Frankfurt Radio Symphony with Paavo Järvi and Russian National Orchestra with Mikhail Pletnev.

Mullova’s extensive discography for Philips Classics has attracted many prestigious awards. Her recording of the Vivaldi Concertos with Il Giardino Armonico and directed by Giovanni Antonini, won the Diapason D’Or of the Year award for 2005 and her most recent release, featuring Beethoven’s Op 12 No 3 and Kreutzer Sonatas with fortepianist, Kristian Bezuidenhout has won immense critical acclaim. Other discs have included the Schubert Octet with the Mullova Ensemble, ”Recital“ with Katia Labèque, Bach Sonatas with Ottavio Dantone and ”6 Solo Sonatas and Partitas“ by JS Bach.

Viktoria either plays on her ‘Jules Falk’ 1723 Stradivarius or a Guadagnini violin.

This album contains no booklet.