Berg - Violin Concerto; Beethoven - Romance in F; Fuchs - Fantasiestucke; Joachim - Hebrew Melodies | Biddulph 802512

Berg - Violin Concerto; Beethoven - Romance in F; Fuchs - Fantasiestucke; Joachim - Hebrew Melodies


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Label: Biddulph

Cat No: 802512

Format: CD

Number of Discs: 2

Release Date: 1st April 2016



First release of 1995 Sony recordings

Beethovenís F major Romance is inflated to Brahmsian dimensions by a plushly upholstered accompaniment from what sounds like a full-strength London Philharmonic.

The sharp contours of Bergís Concerto are rounded off by Zukerman, with Mehta an observant and willing accomplice; so too the Sony engineers, who tuck the more Expressionist details of Bergís orchestration away ... it often rewards a balance struck between Romantically inclined soloist and incisive conductor, and again ... provides the model of a beating heart within a glinting suit of armour.

The second disc has more to offer. Brahms is in the room again, this time not as uninvited guest but welcome host to recital works with a charm as unaffected as Zukermanís portamento. The central section of Robert Fuchsís Op.82 No.1 is unthinkable without the examples of Brahmsís vocal and instrumental Regenlieder, and if the remaining FantasiestŁcke of this selection are hardly less indebted, especially in the harmony of their piano parts, to the masterís Hungarian Dances, intermezzos and so on, they are written from the inside out, never a moment too long, and caught on the wing here not only by Zukermanís unfailing cantabile but also by Marc Neikrugís alertly sprung accompaniments.

The 24-year-old Joachim had met Brahms for the first time only two years before writing these Hebrew Melodies, which sing with a personal if rather unrelieved contralto. Zukerman and his viola are placed further from the microphones than his violin in the Fuchs, and he is slower, especially in No.3, than any other comparative version, but uses the space to advantage. No.2 is in C minor, marked Grave, but a true Nigun in all but name.

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