ASV are to be congratulated for this far-sighted release of the violin concertos of Richard Strauss and Christopher Headington. If, on first appraisal, these works would seem to have little, if anything, in common—let alone any common musical links which might perhaps suggest a viable coupling—then may I dispel any such misgivings from the outset, for this highly rewarding disc deserves every commendation.
Collectors who have admired the violinist Xue-Wei recently, in his fine accounts of concertos by Tchaikovsky, Brahms, Mendelssohn and Bruch, will not be in any way disappointed by his brilliant advocacy of the Strauss concerto. This early work bespeaks much of the romantic virtuoso style of Wieniawski, Vieuxtemps and, of course, Max Bruch, whilst displaying early portents of the composer's mature style in its expansive conception. The tragic/heroic qualities are apparent even in the opening Ritornello, and the soloist enters with a rising chromatic scale underpinned by double-stopped chords—a striking dramatic gesture used later to usher in both the development and recapitulation. With its array of virtuoso effects, the solo part is indeed highly derivative, and the omission of the customary cadenzas could be seen as a weakness, and it has to be said that the lento slow movement is rather short on melodic interest. The finale is fleet of foot, and owes much to the Mendelssohn concerto, although Strauss includes a touching backward glance at the first movement, before taking the work to an affirmative conclusion. In a sense, the derivative aspects of the concerto do not detract from its historical interest, and Xue-Wei plays with explosive commitment. His tonal finesse has a rare, Heifetzian lustre which is both refined and compelling.
Dedicated to the late Ralph Holmes, the Violin Concerto by Christopher Headington dates from 1959. With its predominantly lyrical mood, this work will have a wide appeal, particularly in a reading as persuasive as this, although, as in the Walton concerto, there is a darker aspect too. Indeed, some listeners may detect a quality of the Sognando opening of the Walton in the introduction of the Headington concerto, and again, the central Vivace movement has something of the abrasive wit of the middle movement of the earlier work, but here any such vague similarities end. The Headington Violin Concerto is searching and often highly original in concept, and at the same time, it is superbly constructed with a lucid, if not wildly extrovert solo part. There is no recourse to virtuoso display for its own sake, and the fascination of the piece really lies in its lyrical and expressive potential. The last movement, with its set of six variations, is attractive and endlessly imaginative, as the work reaches its tranquil conclusion.
As for the performance itself, there is little else that one could desire in Xue-Wei's magical playing; this alone should attract a wide audience to this excellent modern concerto. The London Philharmonic under Jane Glover provide total support in both works, and the recorded sound is glowing and yet never overpowering. Here, then, is a charismatic and innovative coupling, played with panache and deep musical integrity, by one of the outstanding violinists of our time.'