Composer: Joseph Marx
Works: Violin Sonata No. 1 in A major (1913)
Performers: Tobias Ringborg (violin), Daniel Blumenthal (piano)
Recording: 1993, Brussels, DDD
Label: Pavane ADW7378
Joseph Marx, a lesser-known figure of the early 20th century, emerges with renewed interest in this world premiere recording of his Violin Sonata No. 1 in A major. Composed in 1913, just before the tumult of World War I, this work is a product of a Vienna rich in cultural confluence, reflective of Marx’s Italian heritage and the broader Austro-Hungarian milieu. The sonata encapsulates a late-Romantic sensibility, echoing the lush melodic lines characteristic of contemporaries such as Korngold and Schreker, while also suggesting a pastoral Englishness akin to composers like Howells and Ireland.
Tobias Ringborg and Daniel Blumenthal deliver a performance that is both passionate and nuanced, fully capturing the rhapsodic quality of Marx’s writing. Ringborg’s violin exhibits a warm, singing tone that is particularly effective in the lyrical passages, where the music seems to float with an almost operatic grandeur. The interplay between the violin and piano is deftly managed; Blumenthal’s accompaniment provides a rich harmonic foundation while allowing the violin to soar. The recording beautifully balances the two instruments, ensuring that neither overpowers the other, a testament to the thoughtful engineering by Pavane.
The sonata’s structure is sprawling, and while its hour-long duration may test the listener’s endurance, Marx’s thematic material is compelling enough to sustain interest throughout. There are moments, particularly in the second movement, where the lushness of the melody is reminiscent of Delius, weaving a tapestry of sound that is both expansive and intimate. However, as the work unfolds, certain passages may linger longer than necessary, leading one to ponder whether a tighter duration could enhance the overall impact. The emotional arc of the final movement, while initially captivating, does seem to wane slightly, suggesting a momentary lapse in concentration from the performers.
The recording’s sound quality is warm and inviting, ideal for this type of chamber music, and enhances the sense of intimacy inherent in the work. This small concert-hall ambiance invites the listener into the emotional world of Marx’s composition, making the experience all the more engaging. The accompanying booklet features insightful notes that contextualize the work within Marx’s oeuvre and the broader musical landscape, enriching the listening experience.
Pavane’s commitment to reviving neglected works is commendable, and this recording is a significant contribution to the growing recognition of Marx’s music. Ringborg and Blumenthal have set a high standard for future interpretations, and their performance is likely to become a benchmark for those exploring Marx’s chamber repertoire. The Violin Sonata No. 1 is a rewarding listen for enthusiasts of late Romantic music, offering a richly textured experience that deserves a place in the concert repertoire.
