I am not a fan of Walloon Belgium ... but happily make an exception when it comes to the violin. Following on from my satisfaction with the French Philippe Graffin the other day, it is pleasant to re-encounter the Franco-Belgian school of violin playing with its sophistication, good taste and dedicated artistry. The Russo-Israeli-DeLay school of power playing may be appropriate for Brahms, Tchaikovsky or Shostakovich; but not for Ysaÿe. Interestingly, the other day I switched on my car radio to catch the end of someone playing Chausson's Poème. Wonderful full-blooded romantic playing, I thought; but hardly suitable for Chausson. When the performance ended, I learned that it had been David Oistrakh, Charles Münch and the Boston Symphony Orchestra. Enough said. Take me back to the Franco-Belgians in that kind of music.
Thursday 20 November 2008
Thanks to my good friend Carlos, I have a most interesting set of "Belgian Violin School" four CDs (transferred from four HMV LPs of recordings from the 1960s and 70s). The violinists featured are Rudolf Werthen, Carlo van Neste, Marcel Debot and Maurice Raskin (I have so far listened to all except Raskin). The music played is by Vieuxtemps, de Bériot, Léonard and Ysaÿe thus, an all-Belgian affair.
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8 comments:
Harry; I really don't get you. You said that DFO was wonderful, full-blooded and romantic version, but you don´t liked it? What is supossed to be a good version?. Weak, mediocre?. What more do you want for a recording?
The greatest of all Chausson Poèmes, in my opinion, was George Enescu (with piano, in 1929) An object lesson in violin sensitivity and subtlety. Runners up are Philippe Graffin, Arthur Grumiaux (three versions), Vadim Repin and Akiko Suwanai. Heifetz should have been good in this work (he was well able to adapt his style and tone to French music) but his recorded balance is hopelessly wrong so he is out of the running. A pity.
Yes, I've Enescu's. But also a very rare and unknown version by Kreisler live in 1948.
Yes, the Kreisler is rare -- I had my copy from Cheniston. Unfortunately, by that time Kreisler was 73 years old and in poor health, so it's of historical interest only.
Yes, but Oistrakh was also a proponent of the Franco-Belgian school of bowing. Wouldn't that bring more similarity to the likes of Ferras as opposed to the "blood and guts" sound you were mentioned?
Nabih,
As with most music, the truth is in the sound, not the theory. Oistrakh's rich, golden, warm tone always sounds very Russian to me, whatever he is playing. The Franco-Belgian school (like the German-Austrian school, etc) has more to do with a style of playing than a specific technique or bow-hold.
I would love to get my hands on these recordings. Sadly, Jordan is just not the place for this sort of thing.
I always wondered how a violinist such as David Nadien would fare with something like the Poeme. His Franck is truly beautiful, as is his recordings of vignettes such as Salut D'Amour, etc...
Ah, all the things David Nadien should have recorded! There are marvellous violinists -- especially including Nadien -- who stayed almost invisible (Albert Sammons was another).
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