Composer: Ludwig van Beethoven
Works: Violin Concerto in D, op. 61; Romance No. 1 in G, op. 40; Romance No. 2 in F, op. 50
Performers: Yehudi Menuhin (violin), Vienna Philharmonic Orchestra/Constantin Silvestri (1), Philharmonia Orchestra/Sir John Pritchard (2)
Recording: Recorded November 1960, Musikvereinsaal, Vienna (1); November and December 1961, No. 1 Studio, Abbey Road, London (2)
Label: EMI CLASSICS CDE 5749732
Beethoven’s Violin Concerto and the two Romances capture the essence of his early romanticism, a bridge between the Classical and Romantic eras, marked by emotional depth and lyrical grace. The concerto, composed in 1806, is a monumental work that showcases the violin as both a virtuosic instrument and a vehicle for profound expression. The Romances, written earlier in 1802 and 1805 for the Italian violinist Francesco de Angelis, reflect Beethoven’s exploration of lyrical themes, inviting performers to imbue the music with personal interpretation.
Yehudi Menuhin’s interpretation is imbued with nobility and a hauntingly pure tone, qualities that have made him a revered figure in the violin world. The Vienna Philharmonic, under Constantin Silvestri, provides a lush, sonorous backdrop. However, the performance occasionally reveals interpretive tensions. In the G major Romance, an initial disagreement over tempo between Menuhin and Silvestri results in a heavier treatment that, while rich, may undermine the buoyancy intended by Beethoven. It’s noteworthy how this contrasts with the F major Romance, where Menuhin’s tone seems more aligned with the piece’s spiritual depths, rendering it a highlight of the disc.
The technical aspects of Menuhin’s playing are consistently impressive, his ability to draw out emotional nuances evident in the Larghetto of the concerto, where he navigates Beethoven’s lyrical lines with both fervor and delicacy. However, the slow passages can feel laborious, raising questions about the interpretive choices made. The Romances, set in a 2/2 time signature, might benefit from a more buoyant approach, as many passages are designed for spirited execution rather than meditative reflection. While his rich tone can lend weight to the slow moments, the occasional indulgence in tempo may detract from the music’s inherent vitality.
Recording quality, as expected from EMI Classics, is commendable, capturing the warmth and richness of Menuhin’s sound while allowing the orchestral textures to resonate fully. The balance between soloist and orchestra is well managed, although at times, Menuhin’s impetuous style risks overpowering Silvestri’s more restrained approach. The engineering, particularly in the concerto, conveys the grandeur of the Vienna Musikverein, enhancing the listening experience.
Comparatively, Menuhin’s later recordings of the concerto with Klemperer reveal a more mature interpretation, suggesting that this performance, while significant, may not fully encapsulate his interpretative evolution. The energy and spontaneity of this recording are noteworthy, yet one cannot help but compare it to the more polished interpretations of contemporaries, such as David Oistrakh or even Menuhin’s own later work, which exhibit a deeper understanding of the concerto’s architectural grandeur.
This recording is not without its flaws; it captures the essence of a great violinist grappling with the demands of Beethoven’s music. The performance oscillates between moments of profound insight and interpretive uncertainty, reflecting Menuhin’s duality of spiritual depth and occasional fallibility. While it may not stand as the definitive interpretation, it certainly offers a compelling glimpse into Menuhin’s artistry and the rich, emotive landscape of Beethoven’s violin repertoire.
