Yehudi Menuhin Two Violin Concertos by Max Bruch

THE 100th ANNIVERSARY OF YEHUDI MENUHIN'S BIRTH
★★★★

   Although idea of string instrument with the bow was common in ancient civilizations, violin itself has relatively short history. We know violin as instrument constructed in 16th century Italy, and with slight modifications made in 18th and 19th century this form of violin lasts until today.  The violin music is one of main currents of virtuoso repertoire, and it’s needless to say violin is most common instrument in orchestras and chamber ensembles. This makes violin artistry, just as it is with great voices or piano virtuosi the theme for unending debates. It’s hard to count all great violinists of last century, but all listeners agree Yehudi Menuhin was one of very few virtuosos occupying the position of the best. He recorded more than five hundred records as violinist and conductor.
   Yehudi Menuhin, born April 22, 1916 in New York, was undeniably one of very few virtuosi dominated 20th century scenes. He was famous most of all for his virtuoso technique, deep, emotional sound and balanced interpretations. His strengths were also wide spectrum of musical knowledge and stylistic versatility. He started to learn in the age of four, as seven year old he debuted with San Francisco Symphony Orchestra. As 10 years old, January 6th, 1927 Menuhin debuted in Berlin with orchestra conducted by Bruno Walter. The same time he started recording, and in next years he was active virtuoso at most famous philharmonic halls in Europe. Turning 20, he was already world famous virtuoso. During the 2nd World War violinist give concerts in all military bases of US Army and was the first who was giving concerts in liberated European cities. In April 1945 he gave concert for surviving inmates of concentration camp in Bergen-Belsen. Two years later he was the first Jewish musician who gave concert with Berliner Philharmoniker and Wilhelm Furtwängler in an act of reconciliation. 

Yehudi Menuhin  - Max Bruch - Two Violin Concertos (1974)

   After the war Menuhin became public personality – famous musician was internationally recognized intellectualist, who entered to European culture many elements of remote civilizations, especially yoga masters and Indian classical music. He was honorary patron for international musical schools, prizes, music festivals and orchestras. As he made series of recordings with Wilhelm Furtwängler, he was famous for his peace and international cooperation advocacy. For his achievements he was made an honorary Knight Commander of the Order of the British Empire. He was also active as conductor and performer of non classical music. He was recording with Ravi Shankar, and their famous 1967 album West Meets East won the Grammy Award. Yehudi Menuhin made famous recordings with Stephane Grapelli, which was significant element in process of appreciating jazz in classical music community.
   Being at the height of his fame in 1973 Yehudi Menuhin recorded first two of three violin concertos composed by Max Bruch. It is an interesting album as the chance to hear these two concertos. The first Concerto G Minor op. 26 is famous as conservative romanticism in style of Mendelssohn’s Concerto E Minor, so it is present in world culture in dozens of great recordings. Second Bruch’s Concerto D Minor op. 44 is relatively forgotten. The EMI His Master’s Voice label album is a great possibility to compare both concertos in one competent rendition. It is also a chance to compare various moments in soloist career since Bruch’s G Minor Concerto was Menuhin’s first concert recording in 1931 conducted Sir Landon Ronald. And in later decades Menuhin played this concerto permanently. Both concertos are recorded with wide gesture of romantic emotionalism and precisely executed solo and orchestral parts. In some virtuoso fragments of 2nd Concerto Menuhin had problems with his right hand and the bow was too heavy, sometimes he has some tendency to slide in fast passages, but general effect is satisfactory. Four stars considering great performance of Concerto G Minor and competent presentation of second. 

Mintz & Abbado play Mendelssohn and Bruch

Sometimes different works of different composers are related and complementary. Felix Mendelssohn’s Violin Concerto in E Minor Op. 64 and Max Bruch’s Violin Concerto No 1 in G Minor Op. 26 are such pair of works, thus often are connected in programs of many albums. Both are very popular in violin repertoire, both belong to German romanticism highlights and both are best known works of their composers. These works are similar to each other in many formal ideas and strong romantic lyricism. Of course the style of orchestration is different but it is worth to remember there was at least a 22 year gap between them. The economics of artistic meanings and methods of creating again are the same, making these works even closer than it can be expected. Both were composed with supervision of violin virtuosi. First was consulted with Ferdinand David, concertmaster of Gewandhausorchester in Leipzig who was also premiered the work. Second is connected with celebrated 19th century violinist Joseph Joachim who was serving with advice for Bruch and performed it as first. Max Bruch and Felix Mendelssohn, both where versatile composers with clear romantic attitude and classical discipline. From the immense wealth of recordings featuring these concertos one of the more obvious is the album released by DGG in 1981 (2531 304) with Israeli virtuoso Shlomo Mintz and Chicago Symphony Orchestra conducted by Claudio Abbado.

Shlomo Mintz / Claudio Abbado - Violinkonzerte (1981)

The great feature of this recording is excellent cooperation between soloist, conductor and orchestra. Confidence and mutual understanding between artists flourished with perfect balance of solo violin and orchestral parts. Mintz plays freely and lightly, with deep, saturated sound. Abbado is able to bring out the most subtle dynamic and articulation nuances. Chicago Symphony Orchestra, one of top class symphonic bands, gave here phenomenal performance. Orchestra plays with virtuoso perfection and with marvelous sound that is class for itself. Artists recorded more in forcomming years, three years later in 1984 Shlomo Mintz with Chicago Symphony Orchestra and Claudio Abbado recorded phenomenal renditions of both Violin Concertos by Serge Prokofiev.
This session was second time Abbado made recording of Mendelssohn’s Violin Concerto – for the first time he recorded this composition in 1973 with Nathan Milstein and Wiener Philharmoniker. In Bruch’s Concerto Abbado’s work is astonishing. Traditional renditions are more dramatic while Abbado’s idea leads rather to expressive emotionalism of more comprehensive musical rethorics. Sometimes he is very close to the ridge of overreaction but he is justified because thirty years after recording the sound and expression are still as fresh as they could be performed now. And this is amazing how much capacity found conductor for this emotions in Bruch’s and Mendelssohn’s classically balanced works. It was also the time of his great renditions of Mahler’s Symphonies with Chicago Symphony Orchestra, with which he was recorded every year since 1978 and where in 1982 he became the principal guest conductor.
Shlomo Mintz’s performances are unbelieveably melodious. This compositions are enough melodically rich they do not need much more than clear sound and accurate performance. But Shlomo Mintz playing one of most beautiful sound ever, gave here samples of genuine sublimity and spirituality. His phrasing, his steady melody drawing gives listener feeling of strongest and the most common emotions. The question is how artist can be so mature in manifestation of his emotions when he is still so young. And this in fact does not refer solely to the performer. Mendelssohn started writing this Concerto when he was 29 years old. Max Bruch was 28 when composed his Violin Concerto No. 1. Maybe this is prerogative of romantic music or maybe we should redefine criteria of maturity, but it’s meaningful how often age has nothing to do with human powers.

Schneiderhan plays Mendelssohn and Bruch

Early Romanticism was the time of consolidating stylistic adjustments established by Mozart and Beethoven. One of the greatest composers of this era was Felix Mendelssohn who was often compared to Mozart since he was recognized as a child prodigy and in his early output strongly connected to Mozart’s style. In his childhood he wrote 12 String Symphonies and many other works. In later works, especially oratorios and choral compositions he was also searching for an inspiration in Bach’s musical ideas. He was active in many fields of music, teacher, conductor, performing artist, thus he was able to compose virtually in every form and for any kind of cast. This was pure romantic idea to connect forms and performing stuff in unusual manner. Mendelssohn’s Lieder Ohne Worte (Songs without Words), the great cycle of lyrical miniatures for solo piano became the source of inspiration for many romantic composers. 

The most famous symphonic work by Felix Mendelssohn is Violin Concerto E Minor, Op. 64. This is not the only concerto for violin by this composer. In 1951 Yehudi Menuhin rediscovered Concerto for Violin and String Orchestra D Minor written between 1821 and 1823, when composer was 12 to 14 years old. This virtuoso concerto sometimes is indicating as No 1. In Mendelssohn’s works one can find a whole series of concertos as well as numerous pieces in romantic forms, capriccios and concertinos for solo instrument and orchestra. Violin Concerto E-Minor is the last Mendelssohn’s orchestral composition and one of the best implementations of violin concerto form. There are many creative ideas composer followed writing this work. One is leading role of soloist in opening of the work and moving virtuoso cadenza before the recapitulation. To avoid applause between concert movements Mendelssohn abandon interruptions by connecting first two parts with single bassoon note developing into accompaniment for solo violin theme of Andante and third part starting attacca after fanfare-like short introduction. These are most visible novelties from formal classical point of view. Melody and harmonics of Mendelssohn’s Violin Concerto are full of new qualities and brilliant ideas.

Mendelssohn and Bruch played by Wolfgang Schneiderhan (1958)

One of many standard records of Felix Mendelssohn’s Violin Concerto E Minor and Max Bruch’s Violin Concerto No 1 in G Minor Op. 26 is album published in 1958 album of Deutsche Grammophon Gesellschaft (LPEM 19124) featuring Wolfgang Schneiderhan, violinist from Wienna who was active in DGG productions mainly in fifties. Album was joint edition of two 10-inch recordings published in fifties by the same label. Mendelssohn’s Concerto was recorded with Radio-Symphonie-Orchester Berlin conducted by Ferenc Fricsay and Bruch’s Concerto in G Minor was recorded with Bamberger Symphoniker under baton of Ferdinand Leitner. These recordings were the benchmark for performances in forthcoming years. Republished on 12-inch album these recordings were enough successful to have second DGG edition in 1961 and third license pressing by Heliodor label.
These mono recordings have a clear and deeply colorful sound.  Thanks to very good, perfectly trained orchestras and great conductors. Fricsay put the emphasis on classical phrasing energy and this is what let him to create almost transparent construction of Mendelssohn’s symphonism. Leitner is more emotional, trying to build some visions based on strong emotional contrasts. Considering technology of recording orchestra in these years, tutti sound surprisingly fresh. Both accompaniments are serving as good foundation for soloist. Wolfgang Schneiderhan was the kind of virtuoso towards to achieve technical perfection without breaking the rules or breaking conformity of style. His phrase is light and almost free of emotionalism, like he was trying to say there can be no more emotions than in notes alone. This is what makes his recordings maybe too much academic, but students don’t have doubts about its quality.