LALO Symphonie espagnole TCHAIKOVSKY Violin Concerto
View record and artist detailsRecord and Artist Details
Composer or Director: Pyotr Ilyich Tchaikovsky, Edouard(-Victoire-Antoine) Lalo
Genre:
Orchestral
Label: LPO
Magazine Review Date: 03/2017
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: LPO0094
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Violin and Orchestra |
Pyotr Ilyich Tchaikovsky, Composer
Augustin Hadelich, Violin London Philharmonic Orchestra Pyotr Ilyich Tchaikovsky, Composer Vasily Petrenko, Conductor |
Symphonie espagnole |
Edouard(-Victoire-Antoine) Lalo, Composer
Edouard(-Victoire-Antoine) Lalo, Composer London Philharmonic Orchestra Omer Meir Wellber, Conductor |
Author: Mark Pullinger
Hadelich’s Tchaikovsky is lean, neither as rich or muscular as Vadim Repin, nor as warm as Lisa Batiashvili on her recent DG account. The first movement highlights the lyrical cantabile qualities of his playing, with superfine pianissimos in what feels a slightly ruminative cadenza, especially when compared with the dramatic impetus in Batiashvili’s, although to my ears her pregnant pauses sound mannered on repeated listening. Hadelich’s mood is rather introverted, lending a tender fragility to his soliloquies. Speeds are swift, though, which is no great surprise with Vasily Petrenko on the podium, injecting excitement to proceedings where some might feel Daniel Barenboim sucks it away with his exaggerated tempo changes. Petrenko allows no stodge to clog the orchestral arteries and he builds up a terrific head of steam in the coda. The Canzonetta is fluid, but Hadelich appears afraid to wear his heart on his sleeve, a feeling confirmed by the finale, which lacks the cossack fire that sets Repin’s account aflame.
Where Hadelich’s Tchaikovsky is a touch polite, his Lalo (recorded a year earlier) bursts with character. There is plenty of beef here, both in the violin tone and in the LPO’s partnering, Omer Meir Wellber drawing out Spanish fire and stamping heels from this colourful – and strangely neglected – score. Hadelich exudes bravado in the terrific Rondo finale, almost a match for Maxim Vengerov or Renaud Capuçon. Applause is retained after the Tchaikovsky, but not the Lalo – which arguably deserves it more.
Discover the world's largest classical music catalogue with Presto Music.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
SubscribeGramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.