Benda’s Violin Concertos: Suk Chamber Orchestra’s Captivating Interpretation of Bohemian Heritage

Composer: Jiri Benda, Frantisek (Franz) Benda
Works: Violin Concertos Vol. 1: Jiri Benda – Concerto in G major; Frantisek (Franz) Benda – Concerto in D major; Concerto in D minor
Performers: Josef Suk (violin), Ariane Pfister (violin), Suk Chamber Orchestra, Christian Benda (conductor)
Recording: Lichtensteinpalast, Prague (Sound Studio HAMU), 25-28 January 1999
Label: NAXOS

The Benda family, a significant musical dynasty from Bohemia, is represented in this Naxos release with two of its most prominent members: Jan Jiri Benda and his son Frantisek (Franz) Benda. Their works, while not as widely recognized as those of their contemporaries, offer a fascinating glimpse into the transitional period of the 18th century, as the baroque style gave way to the classical idioms that would dominate the following decades. Jan Jiri, born in the early 17th century, laid the groundwork for a lineage of musicians, while Franz, who flourished during the mid-18th century, deftly navigated the intersection of tradition and innovation at the Prussian court. This recording encapsulates the vibrant spirit of their compositions, particularly highlighting the concertos in G major and D major, alongside the D minor concerto.

The performances by Josef Suk and Ariane Pfister are marked by a remarkable blend of technical prowess and interpretative insight. Suk’s interpretation of Jiri Benda’s Concerto in G major is particularly striking; he imbues the piece with a buoyant energy that captures the essence of the Bohemian style. The first movement’s lively Allegro is characterized by crisp articulation and a playful dialogue between the soloist and the orchestra. Suk’s use of dynamic contrast, especially in the development section, showcases his understanding of the classical idiom while paying homage to the baroque roots of the work. Ariane Pfister’s rendering of Franz Benda’s D minor concerto is equally compelling, with her nuanced phrasing bringing out the emotional depth of the slow movement, where she navigates the expressive cadenzas by Lola Benda with a lyrical sensitivity that enhances the work’s inherent drama.

The recording quality is commendable, with a crisp balance that allows the solo instruments to shine without overshadowing the orchestra. The engineering captures the warmth of the strings and the clarity of the woodwinds, creating an inviting soundstage. Christian Benda’s conducting is attentive and supportive, allowing Suk and Pfister the space to explore the concertos’ virtuosic demands while maintaining cohesion within the ensemble. The overall sound is well-rounded and resonant, which brings forth the inherent charm of these works.

Comparatively, while recordings of the Benda concertos are not as prevalent, the performances here stand out for their authenticity and vitality. The interpretative choices made by Suk and Pfister resonate with the spirit of the Benda family tradition and reflect their deep familial connection to the music. The lively interplay within the concertos, particularly the intricate cadenzas, showcases not only the technical demands placed upon the soloists but also the rich musical dialogue that defines this repertoire.

This collection serves as a vital introduction to the Benda family’s contributions to the violin concerto repertoire. It illuminates the nuances of their compositional style and provides an engaging listening experience that invites further exploration of their work. The skillful performances paired with high-quality recording ensure that this volume is not merely an academic endeavor but an accessible and enjoyable experience for both seasoned listeners and newcomers alike. The promise of further volumes in this series is an enticing prospect for those eager to delve deeper into the musical legacy of the Benda family.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.