Composer: Jeannot Heinen
Works: Violin Concerto No. 2, Fantasy for String Orchestra, Concerto for Two Violins and Orchestra
Performers: RTL Symphony Orchestra / Manfred Honeck (Violin Concerto No. 2, Dora Entcheva, violin), RTL Symphony Orchestra / Pierre Cao (Fantasy for String Orchestra, Vassil Ivanov, violin), Luxembourg Conservatoire Chamber Orchestra / Pierre Cao (Concerto for Two Violins and Orchestra, Dora Entcheva and Marie-Denise Heininen, violins)
Recording: Various sessions recorded in June 1993, February 1982, and November 1996
Label: Editions LGNM
Jeannot Heinen, a composer whose career spans over four decades, has established himself as a significant figure in contemporary classical music, particularly in the realm of violin composition. His Violin Concerto No. 2 (1993) embodies a dual character, deftly balancing rhapsodic lyricism with technical demands that challenge even the most accomplished soloists. This work, alongside the Fantasy for String Orchestra and the Concerto for Two Violins and Orchestra, reveals Heinen’s penchant for intricate dialogue between the soloist and the orchestral fabric, a hallmark of his style.
The Violin Concerto No. 2 unfolds in two movements, with the first comprising five interconnected sections that explore varying forms of interaction between the solo violin and the orchestra. The writing for the violin is notably audacious; it demands a high level of virtuosity, which Dora Entcheva meets splendidly. Her performance is marked by a bold expressiveness, particularly in the second movement, which transitions from an adagio into a vibrant, rhythmically charged section characterized by “modo bulgaro.” This incorporation of Bulgarian folk elements adds a layer of cultural richness, while the orchestral writing—though expansive—remains judiciously restrained, allowing the violin to shine without overwhelming it.
Heinen’s Fantasy for String Orchestra, originally conceived for violin and piano, showcases his fascination with lush textures and vibrant contrasts. Vassil Ivanov’s interpretation of the solo violin part is both confident and lyrical, effectively navigating the dense passages that Heinen favors. The orchestral accompaniment here is particularly noteworthy; it is a canvas of sweeping gestures and dramatic outbursts that punctuate the work’s emotional landscape. The engineering of this recording captures the intricate interplay of forces, though at times, the balance feels slightly skewed, with the soloist occasionally overshadowed by the orchestral body.
The Concerto for Two Violins and Orchestra presents a familial collaboration, as Entcheva is joined by her daughter, Marie-Denise Heininen. This piece consists of four interwoven sections, with the energetic third movement, “Rondes,” standing out for its vivacity and rhythmic drive. The synergy between the two soloists is palpable, showcasing their technical prowess in executing harmonics and other advanced effects while maintaining a warm and dark tonal palette. The orchestral writing here again employs a sizable ensemble, with a notable reliance on tuned percussion that colors the texture with a unique timbral richness.
These recordings are largely successful in presenting Heinen’s music with clarity and spaciousness, though the forwardness of the mix can detract from the overall immersive experience. While there may be moments of gray and grit in the musical narrative, the accessibility of these works is undeniable. They invite listeners into a world that, while contemporary in its sensibilities, is rooted in a tonal language that resonates with a broader audience.
Heinen’s compositions warrant exploration, not only for their intricate craftsmanship but also for the rich emotional tapestry they weave. The performances captured here are consistently excellent, and the interpretations reveal a deep understanding of the music’s intentions. This collection serves as a compelling introduction to Heinen’s oeuvre, showcasing his unique voice within the contemporary classical landscape.
