My dear readers and fellow music lovers, no I’m not dead nor sick, I’ve just been on an intense 3 weeks business trip which kept me from posting.
Everything should be back to the regular 2-3x update schedule as of now. Thanks for your patience!
Brahms Violin Concerto
To answer my own rhetorical above question first: One more than you currently own as of recently.
OK, if you were a purist, you could say, just get Heifetz and be done with it. And you’d have a valid point. But then again, you’d be missing so much, for example the recording I’m just about to write about.
At latest count, I have 24 versions of this masterpiece in my library, and this is not counting the huge number of versions I could access any time via Qobuz streaming.
So why the heck would I want to add one more? Especially with Heifetz’ legendary version around, not even mentioning Faust’s fantastic version (reviewed here previously, 5 stars)?
The answer is simple and is called Janine Jansen. If you’ve been reading this blog for a while you know I’m a big Isabelle Faust fanboy, and gobble up and love pretty much all she’s doing.
Janine Jansen, the Dutch violinist, is another example where I’ve rarely ever been disappointed. Her Beethoven and Mendelssohn recordings are among my absolute favorites, and even her Four Seasons are a lot of fun. I’ve already mentioned her a couple of times, including here and here, in her role as excellent chamber musician. But obviously she really shines when she is in the lead.
Janine Jansen and Antonio Pappano playing Brahms and Bartók
How to describe Jansen’s Brahms? Well, between the two extremes of Heifetz (extreme passion) and Faust (extreme clarity), you probably get a nice balance in between.
There is definitely more vibrato and more rubato than with Faust, and while I love the clean sound of Faust’s Sleeping Beauty Stradivarius, Jansen’s Barrere from the same genius violin maker’s factory, with a slightly darker tone, is outstanding as well.
Another difference is the cadenza, Faust playing the rare Busoni cadenza, with Jansen chasing the more traditional Joachim cadenza (by Brahms’ friend and favorite violinist).
Obviously I also need to mention Pappano. He’s done great things with his recent opera recordings (e.g. the Aida reviewed here), but if any more proof was needed he’s also an excellent conductor for concertos, here you have it.
In a nutshell, this is perfection. A different kind of perfection than Faust or Heifetz, but perfection nevertheless. A must have if you like Brahms. (At some point I’ll do a comparison between all my 25 versions, from Neveu to Jansen. Just need to find a LOT of time).
I haven’t written a word about the Bartók yet. This is simply because I’m much more unfamiliar with this work than the Brahms, my only two comparators being Faust (again, I know), and Oistrakh, so I won’t comment here beyond the fact that I like what I hear. Maybe this is the version that will finally get me more hooked on the Hungarian composer (I really appreciate him, but rarely listen extensively).
My rating: 5 stars