Review Tchaikovsky & Beethoven violin concertos

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TCHAIKOVSKY & BEETHOVEN VIOLIN CONCERTOS

VANESSA-MAE's 3rd RECORDING BEING THE YOUNGEST SOLOIST

TO RECORD THESE MASTERPIECES OF CLASSICAL MUSIC

Tchaikovsky & Beethoven Violin Concertos - track listing

Tchaikovsky - Violin Concerto in D op. 35
1st movement - Allegro moderato - Allegro giusto
2nd movement Canzonetta - Andante
3rd movement Finale - Allegro vivacissimo

Beethoven - Violin Concerto in D op. 61
1st movement - Allegro, ma non troppo
2nd movement - Larghetto
3rd movement -Rondo allegro

(Recorded at Abbey Road studios, October 1991 - Tchaikovsky - and February 1992 - Beethoven)

Overall impression
At the young age of only just 13, Vanessa-Mae delivered with her 3rd recording an interesting rendition and a fine interpretation of the well-known violin concertos of Tchaikovsky and Beethoven. This was, and still is, a particular remarkable achievement for a young and emerging talent in this field of masterpieces with many cruel technical difficulties in the various complex melodic themes, moreover considering the fact that many high quality recordings by famous and internationally acclaimed virtuoso violinists already existed. The quality of the sound of this recording is much better than for Vanessa-Mae's first two albums, 'Debut' and 'Kids Classics.' This certainly underlines the effort that has been put into this project to make a recording that would be seen as a valuable contribution to the existing catalogue. With this recording, Vanessa-Mae became the youngest soloist ever to record both the violin concertos of Tchaikovsky and Beethoven. This recording set a milestone in Vanessa-Mae's career aimed towards professionalism. Today, being an arrived artist of great fame and fortune, Vanessa-Mae can look back to this album with all due modesty, but certainly with feelings of great pride as well. For this recording, Vanessa-Mae was accompanied by the London Symphonic Orchestra conducted by Kees Brakels. Vanessa-Mae donated parts of her royalties for this recording to the National Society for the Prevention of Cruelty to Children, the NSPCC.

The art work
For the cover photo, Vanessa-Mae did her first ever real posing in front of a camera in a session to build up material for art work and promotional purposes to be made available for the media. One photo from this session was used by Gramophone in 1991 to illustrate an article that they did on Vanessa-Mae. The booklet is sober and contains a short biography of both Vanessa-Mae and of the Dutch conductor Kees Brakels. Descriptions of the two violin concertos is also provided. Inside the booklet is a photo showing Vanessa-Mae and Kees Brakels during a break in the recording process. There is also a lists of credits in the booklet.

click the thumbnails to view large scale images

Description of the tracks
Books and the internet are both valuable sources to information dealing with the violin concertos of Tchaikovsky and Beethoven, describing these compositions in terms of technique, quality, mood, meanings and possible interpretations. Therefore, this review will be limited to remarks about Vanessa-Mae's way of playing and interpretation, and my view on her conduct in this respect.

Tchaikovsky violin concerto in D op. 35

1st movement - Allegro moderato - Allegro giusto
The 1st movement of Tchaikovsky's masterpiece is a complex mixture of dynamic orchestral fireworks, lyrical dialogues between solo violin and the string sections of the orchestra alternated with parts of virtuoso play by the solo violin. The first movement starts with the full orchestra playing when the central and recurring theme is introduced. After the introduction by the orchestra, the solo violin elaborates on the theme, accompanied quietly by the orchestra. Vanessa-Mae shows her extraordinary lyrical qualities in these quiet parts and her play is full expression when she hits the notes perfectly well. On the other hand, Vanessa-Mae tends to loose herself a bit a couple of times in the parts where she has to play up against the orchestra on full magnitude, although she certainly does not allow to be overruled. Nevertheless, this may be seen a some uncertainty on the part of the violin soloist, and it results in the orchestra having the lead in these parts of loudness and utmost dynamics. In the mid section of the 1st movement, around 7 minutes of play, is a part where the solo violin and orchestra are engaged in a game of teasingly exploring each other as lovers do are their first embrace. This scene flows nicely into a orchestral fireworks accompanying the solo violin, ending in a part where the violin plays solo unaccompanied to showcase technique and expression around 9 minutes. Vanessa-Mae greatly succeeds through this part with an adequate performance of her skills, remarkable present already at such young age. The lyrical playing together of orchestra and solo violin that follows is fantastic to hear. The high notes that Vanessa-Mae produces around 14 minutes are magnificent and a joy to listen too, all well defined, right and full expression. This lyrical part gradually goes into the concluding fireworks towards the end of the 1st movement.

2nd movement - Canzonetta - Andante
The 2nd movement is lyrical in nature throughout. Vanessa-Mae's timing in speed and dynamics are excellent and shows fine interpretation and personality. Her tone is fine and a pleasure to hear.

3rd movement -Rondo allegro
The finale and 3rd movement starts with the orchestra and violin in a joined play, going into a short part where the violin showcases technique unaccompanied, superbly played by Vanessa-Mae. The 3rd movement is a sequence of quiet parts where the solo violin is only accompanied by part of the orchestra, and widely dynamic parts, sometimes if high speed play, of the solo violin against full orchestra. This movement is variable in nature and demands full concentration of musicians and also of the listener to catch all the themes and details. Both Vanessa-Mae and orchestra deliver an excellent job to guide the listener in a journey of joy through the complexity of the composition.

Beethoven violin concerto in D, op 61

1st movement - Allegro, ma non troppo
The impression that Vanessa-Mae sounds much more in control towards the orchestra strikes the listener to this 1st movement immediately. Vanessa-Mae's timing is excellent and she hits all notes perfectly, allowing her to be in the lead over the orchestra, much more than during the Tchaikovsky concerto. It shows that Vanessa-Mae picked up a lot during the recording process of her 3rd cd, and it certainly suggests that the recording of the Beethoven concerto came after the recording of the Tchaikovsky. The lyrical power of the 1st movement is enormously and overwhelming. To succeed as Vanessa-Mae did, demands unprecedented talents on the part of the solo violinist. At 18 minutes 29, at an unaccompanied solo part, the violin starts to showcase technique and expression. Vanessa-Mae delivers very well at the various techniques with her smooth play, showing that she possessed a unique sound already at her young age. After a little more than 22 minutes, the first movement comes to an end when in a growing loudness orchestra and violin end in an explosion of sounds.

2nd movement - Larghetto
The 2nd movement is a sequence of luxuriant and harmonic motives played by the violin, quietly accompanied by various sections of the orchestra. Vanessa-Mae on her violin is constantly in command, brilliantly supported by the orchestra. The whole movement is emotional and full expressions. Vanessa-Mae's sound has all the elements that are so unique in her way of playing. The rendition of this movement is a superb achievement of Vanessa-Mae, as well as of the orchestra.

3rd movement -Rondo allegro
The 3rd movement is faster that the 2nd and again Vanessa-Mae has the upper hand and lead over the orchestra. Intonation and timing by Vanessa-Mae are once again fantastic and a joy to listen to. There are several slow parts in this movement as well as unaccompanied solo parts that allow the violin to show skills and technique. Towards the end both solo violin and orchestra grow into a loud and dynamic climax.