Composer: Max Bruch
Works: Violin Concerto No. 1, Mendelssohn: Violin Concerto, Saint-Saëns: Havanaise, Introduction and Rondo capriccioso
Performers: Ruggiero Ricci, violin; London Symphony Orchestra; Pierino Gamba, conductor
Recording: 1958 (Mendelssohn, Bruch), 1960 (Saint-Saëns)
Label: DECCA ELOQUENCE 461 369-2 [68.22]
Max Bruch, a composer often overshadowed by his contemporaries, created works that resonate deeply with the Romantic spirit, particularly his Violin Concerto No. 1 in G minor, which has secured a perennial place in the concert repertoire. Written in 1866, this concerto showcases Bruch’s gift for lyrical melody intertwined with rich orchestral textures. The coupling of this work with Mendelssohn’s celebrated Violin Concerto and Saint-Saëns’ delightful shorter pieces presents an opportunity to explore the nuances of Ricci’s interpretation during a pivotal period in his career.
Ruggiero Ricci’s performance is anything but conventional. His technical prowess is on full display throughout the Mendelssohn, where he infuses the first movement with a vibrancy that straddles the line between elegance and exuberance. The cadenza, in particular, reveals Ricci’s capacity for dramatic flair, offering a refreshing alternative to the more polished interpretations typically favored. Whereas many violinists opt for a sleek, refined sound, Ricci’s approach is replete with personality; his slightly tremulous passages convey an emotional immediacy that is both captivating and thought-provoking. Pierino Gamba, conducting the London Symphony Orchestra, complements Ricci’s vividness with an orchestral blend that is rich yet transparent, allowing the soloist’s voice to shine through without overtaking the ensemble.
The second movement flows with a poignant expressiveness, where Ricci’s vibrato, while occasionally bordering on excess, serves to heighten the emotional stakes rather than detract from them. Gamba’s careful orchestral balancing enhances the soloist’s lyrical lines, deftly underscoring the woodwinds’ subtle contributions that often go unnoticed in less scrupulous performances. This attention to detail culminates in the finale, where Gamba’s restraint allows the music to unfold at a measured pace, eschewing the commonplace sprint for a more contemplative reading, enriched by his orchestral nuances that invigorate the textures.
Turning to the Bruch, Ricci’s interpretation oscillates between moments of sublime lyricism and passages where his penchant for vibrato leads to a heightened intensity. While some listeners may find his expressive choices excessive, many will appreciate the emotional authenticity they convey. The first movement’s lyrical themes, delivered with an open-heartedness, resonate deeply despite occasional moments of over-exuberance. Gamba’s orchestral support here is commendable, with a careful orchestration that allows Ricci’s sound to bloom without overshadowing the orchestral fabric.
The Saint-Saëns pieces, recorded two years later, maintain the same vibrant artistry characteristic of Ricci’s style. The Havanaise and Introduction and Rondo capriccioso are delivered with an invigorating flair, balancing technical brilliance with engaging musicality. The performances are lively and articulate, avoiding the pitfalls of hysteria while remaining thoroughly engaging. The sound quality of this recording, remastered to contemporary standards, reveals the richness of the orchestral soundscape, making it difficult to believe that these sessions date back over forty years.
This collection stands as a testament to Ricci’s unique approach to the violin concerto repertoire during a significant chapter of his illustrious career. The performances bristle with vitality, showcasing both the technical demands of the works and the interpretive depths that Ricci brought to his playing. While some may prefer a more restrained approach to these classic works, Ricci’s personality and musicality provide a refreshing antidote to the often-staid interpretations that dominate the canon. The result is a compelling listen that highlights the enduring appeal of Bruch, Mendelssohn, and Saint-Saëns through the lens of a remarkable artist at a pivotal moment in his career.
