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| 1. Zigeunerweisen, Op.20 - Pablo de Saraste |
| 2. Carmen Fantasy, Op.25 |
| 3. Mazurek, Op.49 - Antonin Dvorak |
| 4. Violin Concerto in A minor, Op.53 |
Sarasate's "Zigeunerweisen" and "Carmen Fantasy" are played with virtuosic flair and idiomatic feeling. The former's gypsy abandon and melancholy sometimes verge on sentimentality, but the latter's passion, fire, and seductive charm almost make it sound like music. Dvorák's "Mazurek" provides the link between the two composers: it is dedicated to Sarasate. It, too, is basically a virtuoso piece, but a lovely, pensive melody intermittently relieves the fireworks. In the Concerto, the first movement is most convincing. The treacherous opening is not only technically perfect, but highly dramatic and rhetorical; the rhythm is rock-steady, yet flexible, and Suwanai brings out its ardent romanticism with great warmth and inward expressiveness. The other two movements feel driven, as if time were running out. The slow one is restless, the Finale downright hectic, though she tries to make the most of the lyrical moments. The orchestra supports her splendidly throughout. The booklet contains much information about the music, but not a word about the violinist. --Edith Eisler
Some people may buy this CD because of the picture of the beautiful Ms. Suwanai on the cover. If so, they will be richly rewarded by her talent and artistry as well. If you love great violin playing and you have not yet heard Akiko Suwanai, please purchase this CD now. You will be glad that you did.
In this recording (which I believe is her second), Suwanai tackles the Dvorak war-horse with incomparable musicianship, sparkling technique, and passion. My experience with some other acclaimed young violinists (e.g., Midori) is that the technique is there, but the interpretation and emotion are lacking. Such is not the case with Suwanai. Her entrance at the opening of the first movement made my hair stand on end (what's left of it!). Tasmin Little's justifiably much-acclaimed recording (on the CfP label) pales by comparison. Suwanai's rendition is clean, clear, dynamic, pulsing. Her virtuosity is incredible. She is to the violin what Mikhail Pletnev is currently to the piano.
Although the focus of this recording is the Dvorak concerto, Suwanai sets things up wonderfully by starting off with virtuoso works by Sarasate (a comtemporary of Dvorak, and to some extent Dvorak's "Salieri"?). The incredible thing about Suwanai is her ability to make sense of these works, particularly the "Carmen Fantasy." Normally, these might be throw-away virtuoso show-off pieces, but she makes them work. Not only do they become fine pieces in their own right, but they make for a wonderful introduction to the "main event;" namely, the Dvorak concerto.
Getting a little lost in the shuffle is Dvorak's "Mazurek." The irony of including this on the program is that, despite Sarasate's misguided disdain of Dvorak's work, Dvorak nonetheless dedicated this work to his "rival." Perhaps an "in-your-face" composition?
All in all, this is a magnificent and prodigous recording and in my opinion is one of the best recordings of 2001.
It is ironic that Dvorak and Sarasate share the disc. Sarasate was known more as a virtuoso violinist than as a composer--essentially, he composed flashy but trite pieces to display his virtuosity; and he treated Dvorak and his work with some contempt. The liner notes tell us that Sarasate said of Dvorak's violin concerto that it was "nothing but pom-pom-pom and old-fashioned form." This reveals more about Sarasate than Dvorak, of course. Where Sarasate wanted flash, Dvorak provided substance instead, and clearly Dvorak's work was far beyond Sarasate's understanding. Of course, much of Sarasate's Fantasy is simple transcription from Bizet's opera. What Sarasate has added is filigree--lovely ornamentation indeed, allowing the soloist to demonstrate their technique with double stops, harmonics, and the like, but nonetheless insubstantial compared to Dvorak's work.
The Dvorak is practically symphonic in scope. It has always seemed to me that Dvorak, rather than Brahms, was the truest successor to Beethoven, that his musical language shares more with Beethoven in terms of dramatic gesture, harmonic and melodic construction, and particularly rhythmic conception. But interestingly, both Dvorak and Brahms wrote their violin concerti for the same performer, Joseph Joachim, and both apparently suffered at his arrogant and heavy-handed input. Dvorak repeatedly revised his concerto, editing it extensively according to Joachim's instructions; ironically Joachim himself never performed the concerto in spite of this. [Dvorak's Cello Concerto had a similar genesis--composed for a strong-willed cellist who did not ultimately premiere it; but in certain instances at least Dvorak rebelled against the cellist's suggestions, being especially adamant that no cadenza be added.] We can only speculate what the piece would have been without Joachim's advice, but certainly it is a masterpiece now.
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