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Sinding: Violin Concertos Nos. 1-3 / Beermann, Bielow, NDR Radiophilharmonie
Release Date: 07/26/2011
Label: CPO Catalog #: 777 114 Spars Code: DDD
Composer: Christian Sinding
Performer: Andrej Bielow
Conductor: Frank Beermann
Orchestra/Ensemble: North German Radio Philharmonic Orchestra
Number of Discs: 2
Recorded in: Stereo
EAN: 0761203711420
Works on This Recording
1. Concerto for Violin no 1 in A major, Op. 45 by Christian Sinding
Performer: Andrej Bielow (Violin)
Conductor: Frank Beermann
Orchestra/Ensemble: North German Radio Philharmonic Orchestra
Period: Romantic
Written: Norway
2. Concerto for Violin no 2 in D major, Op. 60 by Christian Sinding
Performer: Andrej Bielow (Violin)
Conductor: Frank Beermann
Orchestra/Ensemble: North German Radio Philharmonic Orchestra
Period: Romantic
Written: Norway
3. Concerto for Violin no 3 in A minor, Op. 119 by Christian Sinding
Performer: Andrej Bielow (Violin)
Conductor: Frank Beermann
Orchestra/Ensemble: North German Radio Philharmonic Orchestra
Period: Romantic
Written: Norway
4. Legende, Op. 46 by Christian Sinding
Performer: Andrej Bielow (Violin)
Conductor: Frank Beermann
Orchestra/Ensemble: North German Radio Philharmonic Orchestra
Period: Romantic
Written: 1900; Norway
5. Romance for Violin and Orchestra in D major, Op. 100 by Christian Sinding
Performer: Andrej Bielow (Violin)
Conductor: Frank Beermann
Orchestra/Ensemble: North German Radio Philharmonic Orchestra
Period: Romantic
Written: 1910; Norway
6. Suite for Violin and Orchestra in A minor, Op. 10 "In alten Stil" by Christian Sinding
Performer: Andrej Bielow (Violin)
Conductor: Frank Beermann
Orchestra/Ensemble: North German Radio Philharmonic Orchestra
Period: Romantic
Written: 1889; Norway
7. Abendstimmung, Op. 120a by Christian Sinding
Performer: Andrej Bielow (Violin)
Conductor: Frank Beermann
Orchestra/Ensemble: North German Radio Philharmonic Orchestra
Period: Romantic
Written: Norway
Notes and Editorial Reviews
AllMusic Review by Blair Sanderson [-]
Remembered today almost exclusively for the character piece for piano, Rustle of Spring, Norwegian composer Christian Sinding is one of music's unjustly neglected figures, and his rewarding music deserves a comprehensive revival. Thanks to the German label CPO, Sinding's three violin concertos have been handsomely recorded by violinist Andrej Bielow and the NDR Radiophilharmonie Hannover, conducted by Frank Beermann, along with a handful of shorter pieces to fill out this double-disc package. Sinding's Romantic style is quite approachable and is reminiscent by turns of Brahms and Tchaikovsky, as well as of his compatriot, Grieg, so audiences will immediately embrace these charming works for their abundant melodies and elegant writing for the violin. Bielow's playing is intensely lyrical and penetrating, with a tone that is sometimes almost reedy in coloration, which distinguishes his lines against the accompaniment. The orchestra is warm, vibrant, and smooth, providing an ideal contrast to set the violin in high relief. CPO's recording is clear and detailed, with a front and center placement of the soloist. But because the frequency range is extremely wide and best suited to high-end audio systems, listeners with conventional CD players may have to adjust the volume level to find a comfortable setting.
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SINDING Violin Concertos: Nos. 1–3. Legende. Romanze . Suite in a. Abendstimmung • Andrej Bielow (vn); Frank Beermann, cond; NDR RP Hannover • CPO 777 114 (2 CDs: 112:02)
Christian Sinding's Third Violin Concerto, op. 119, which opens violinist Andrej Bielow's program of the composer's concertos and other, slighter, concerted works, may not have achieved the success of his earlier works, but it's strikingly virtuosic and highly ingratiating. According to Michael Kube's notes, the work didn't find a publisher (the performers relied on the manuscript in making the recording) and, after its first performance by violinist Leif Halvorsen, Sinding failed to interest his old champion, Henri Marteau, in playing it. Kube deems the first movement's prevalent double-stops as making the concerto less rewarding; perhaps many violin aficionados will disagree. Be that as it may, that first movement sets many obstacles for the soloist to overcome; Bielow, playing a violin made in the 1730s by Giuseppe Guarneri filius Andreae, surmounts them with panache and glowing tone. The engineers have set him in the midst of the orchestral sound rather than far to the fore, but have nevertheless captured the sizzle of his virtuosity. After a relatively brief and melodious second movement, the finale begins with a strongly rhythmic theme, in which Bielow revels—as he does in the lyrical episode that follows.
Bielow also plays the briefer Legende in B?-Major, op. 46, glowingly, displaying a special warmth on the G string but also a steely command in the upper registers and rising thrillingly to ecstatic climaxes in double-stops. In addition, he makes about as much as can be made of the long winding passage to the conclusion. The Romanze in D Major, op. 100, sounds at once more intimate, graced with more delicate harmonies (sometimes hinting at the chromaticism and even the rising scalar gestures of Richard Wagner's Liebestod ), and more dramatic, with a declamatory middle section. Again, Bielow demonstrates his sympathy for the work's late-Romantic style.
The First Violin Concerto in A Major, op. 45, premiered by Ludwig Holm and later championed by Marteau, opens with a strutting theme similar to the ones upon which Max Bruch drew for the finales of his first two violin concertos (as well as for the subsidiary theme of the first movement of his Second Concerto). The violin part, which Sinding may have crafted himself (he had studied the violin), displays a great affinity for the instrument and an ability to write for it idiomatically (in this ability, Sinding joined composers Karl Goldmark, Edward Elgar, Jean Sibelius, Frederick Delius, and Carl-August Nielsen). The first movement ends abruptly, with lower strings immediately introducing the ground bass upon which the ensuing Andante will be based. This use of a passacaglia as a slow movement and the writing for violin, mysterious and haunting, foreshadow Dmitri Shostakovich's First Violin Concerto (although Sinding allows the orchestral part to achieve greater prominence more suddenly than did Shostakovich) and recall the ground basses in Johann Sebastian Bach's two canonical violin concertos. Bielow responds to the finale's sparkle (high spirits similar to those in Alexander Glazunov's concerto) as well as to the rich harmonic underlay of the lyrical sections.
While the First and Third violin concertos last just over 21 minutes each, the Second, in D Major, op. 60, at 33:44 in Bielow's performance, develops its ideas over a longer span of time. A brief cadenza after the opening, leading to a sort of early climax, recalls a parallel device in Ernest Chausson's Poème , but there the similarities end. Sinding's orchestration sounds much harder and glassier, and though he allows the violin part to wander in a somewhat leisurely way, it seems to lead an active more than a contemplative life, even featuring a full-blown cadenza at the end. The second movement, darkly brooding at the outset, introduces the soloist in impassioned outbursts to which Bielow imparts the required sense of urgency. He is by turns eloquent in the more lyrical, less pressing, passages and subtly reflective in the atmospheric ones. But he's capable of commanding authority; he sounds decisive in the jubilant finale.
Both Jascha Heifetz and Itzhak Perlman played Sinding's Suite in A Minor, op. 10, a work that offers bravura perpetual-motion passagework in its first movement, singing melodies on the G string in its second, and almost Bach-like polyphonic complexity in its finale. Bielow takes the first movement at a dashing tempo similar Heifetz's and Perlman's, but somehow the countermelodies, perhaps simply in the context of Sinding's other works, tend to capture a greater share of the listener's attention. In the slow movement, he sounds if less brilliant then also less brittle and more nuanced (can it be possible?) than does Heifetz—and, of course, the recorded sound is richer and more detailed, elevating the countermelodies to greater prominence. Frank Beermann and the orchestra also make a great deal of the counterpoint in the last movement, providing a lush backdrop for the violin's pyrotechnics. In the cadenza, a section of it is reminiscent of the string crossings in Louis Spohr's Eighth Violin Concerto, “in modo d'une scena cantante.” In Sinding's cadenza, however, Bielow sounds rough-hewn beside Heifetz's easy mastery. The program concludes with the brief, nostalgic Abendstimmung in G Major, op. 120, which Bielow and the orchestra play with characteristic sympathy.
For the program's idiomatic performances of the three concertos, redolent ones of the short pieces, and stirring one of the almost popular suite, as well as for the music itself, cpo's release deserves a warm reception from aficionados of Norwegian music and of the violin, but it should appeal more widely to those interested in turn-of-the-century Romanticism and even to general listeners. Strongly recommended, therefore, across the board.
FANFARE: Robert Maxham
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The music of Christian Sinding was highly thought of in its day and the composer certainly had his champions. Before the Second World War it was regularly played in Europe and America and was extremely popular in Germany. In 1907 his Second Symphony was premièred in Berlin by Felix Weingartner and the Third Symphony in 1920 in Leipzig under Arthur Nikisch.
Although Sinding lived in Germany for most of his life he was Norwegian by birth and had the luxury of receiving generous stipends from the Norwegian government for many years. Since his death in 1941 - and probably before that - he has been known for a single piece for solo piano the popular Frühlingsrauschen (Rustle of Spring). In the last decade there has been renewed interest with a number of recordings especially from Hyperion, Simax, Finlandia, Naxos and CPO.
Soloist Ukraine-born Andrej Bielow has a strong connection with Hanover studying in the city from the age of fifteen at the University of Music and Drama. He plays a Guarneri ‘Joseph Filius' violin (c. 1730/35) loaned by the Deutsche Stiftung Musikleben.
The NDR Radiophilharmonie Hannover is no stranger to Sinding's music. They have already recorded Sinding's four symphonies on two separate discs with Symphonies No.1 and No.2 conducted by Thomas Dausgaard and Symphonies No.3 and No.4 under David Porcelijn.
The set opens with the Violin Concerto No. 3 in A minor composed in 1916/17. Shortly after completion it received its première at Bergen played by Leif Halvorsen. At times I was reminded melodically of Brahms especially in the extended opening movement. Bielow plays virtually continuously throughout in music that varies between moody and windswept. A yearningly emotional Andante has shades of the Sibelius and Nielsen concertos composed between six and ten years earlier. Finally in the Allegro non troppo the mood becomes more uplifting with the orchestra gaining greater prominence although Sinding's writing feels rather lightweight.
The Legend for Violin and Orchestra from 1900 was given its first performance in Stockholm two years later. Initially the orchestral writing felt evocative of Elgar. Coming across as rather strait-laced the Legend takes itself rather seriously yet contains a degree of warmth communicated through Bielow's long melodic line. I'm not sure if Sinding felt any special affinity or significance for his tender and warm Romance as he allocated the opus 100 to the 1910 score. Bielow's solo line and orchestration reminded me of the Delius concerto; a work that was composed some six years later.
Sinding's first Violin Concerto in A major was written in 1897/98. It seems it was completed in London and premièred later the same year in Oslo. Summery melodies in the manner of Dvorák inhabit the opening movement with bustling extended lines from the soloist. Low strings open the Andante suggesting a darkly-hued temperament set amid a strong sense of melancholy. In the central passage the music develops a weightier funereal tread which must surely be a commemoration of a significant loss. Buoyancy and exhilaration pervade the Finale, Allegro giocoso. Noticeably Sinding's writing varies widely in pace and emotional content. At times Bielow is required to play at breakneck speed which certainly blows away any cobwebs.
CD two opens with the Violin Concerto No. 2 in D major first performed in 1901 in Berlin. The score's dedicatee was the soloist Henri Marteau. It was a great success at the première. This work is predominantly wistful in nature. Bielow is required to play virtually continually throughout. At times I was reminded of Dvorák's violin concerto. A lengthy orchestral introduction precedes a severe and dark-hued Andante. Serving as a stark contrast the Finale, Allegro is a light-hearted romp through verdant Norwegian pastures.
Originally composed in 1886/87 as a suite for violin and piano Sinding's Suite in A Minor was not published until nearly twenty years later in this arrangement for small orchestra. The opening Presto is breezy and exhilarating in the manner of Dvorák followed by a warm-hearted Adagio of much tenderness. Marked Tempo giusto the final movement just glows with happiness. The Abendstimmung is a product of the Great War years. As the German title suggests the writing establishes a picturesque evening mood. This short single movement score is a sultry nocturne suffused with warm and summery temperament.
Bielow never over-indulges himself, taking a sensible middle-ground approach. He comes across as a sensitive and responsive violinist with a splendid technique who is equally at home with virtuosic requirements as he is in rapt emotion. Under the baton of Frank Beermann the NDR Radiophilharmonie Hannover come across as committed partners. They do not disappoint.
On this CPO release it took me a while to get used to the sound which is best heard with the volume turned up. The balance and overall impression is agreeable but I'm not sure how well Bielow's Guarneri is served by the recording. The instrument's timbre is rather thin and bright in repertoire that would surely have benefited from more warmth and sweetness. The presentation is enhanced by a detailed essay. The front cover uses a stunning image by Zemo Diemer titled ‘Fjord with a steamship'.
For those approaching Sinding's music for the first time what should they expect? It is hard to hear a very individual voice in Sinding's late-Romantic music. Seemingly highly derivative in nature, I felt the music mainly echoed the sound-worlds of Brahms and Dvorák. Sinding's design seems to favour a thickly textured opening movement Allegro with a rather dark and sombre slow central movement. Only in the brisk final movements do things lighten up. There the music is usually cheerful and of a fresher, breezy quality.
Sinding's music is appealing and has its share of impressive moments although in truth it contains very little in the way of memorable melodies.
Michael Cookson
musicweb-international
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Produktinfo:
Sindings Gesamtwerk für Violine und Orchester
Auch wenn Christian Sinding heute nurmehr durch sein Klavierstück Frühlingsrauschen dem Namen nach in Deutschland bekannt ist (vielleicht kennen einige auch die wundervollen cpo- Einspielungen seiner Sinfonien...!), gehört er doch zu jenen wenigen norwegischen Komponisten des 19. und beginnenden 20. Jahrhunderts, die auch außerhalb ihrer Heimat mit ihrem Schaffen Aufmerksamkeit fanden. Anders als etwa Edvard Grieg verschrieb sich Sinding nach seinem Studium am Leipziger Konservatorium nicht der Volksmusik und deren charakteristischen Idiomen, um sich von den vermittelten klassizistischen Traditionen abzugrenzen, sondern wandte sich während seines Aufenthalts in München dem »neudeutschen Stil« und der Tonsprache Richard Wagners zu. Der Violine galt zeitlebens das besondere Interesse des Komponisten Sinding: 3 große Konzerte und vier kleinere Konzertstücke legen davon Zeugnis ab. Hochromantische und virtuose Konzertmusiken, denen der junge Andrej Bielow ein kongenialer Solist ist.
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Product Information
Sinding's Complete Oeuvre for Violin and Orchestra
Even if Christian Sinding today continues to be known by name in Germany only for his piano piece Frühlingsrauschen (though perhaps a few of you are also familiar with the wonderful cpo recordings of his symphonies!), he nevertheless numbers among the few Norwegian composers of the nineteenth and early twentieth centuries who also gained renown with their music outside their native country. Unlike Edvard Grieg, after his studies at the Leipzig Conservatory Sinding did not espouse folk music and its characteristic idioms in order to distance himself from the classical tradition that had been imparted to him; instead, during his Munich stay, he turned to the »New German style« and the musical language of Richard Wagner. The composer maintained a special interest in the violin throughout his life, with his three major concertos and four shorter concert pieces attesting to his fact. These highly romantic and virtuosic concert compositions find a congenial soloist in the young Andrej Bielow.
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Rezensionen
klassik. com 05 / 11:
»Die Klasse des Beiheftes passt bestens zum musikalischen ›Inhalt‹ der CD. Auch der kann vollauf überzeugen. Die musikalische Umsetzung von Sindings Violinkonzerten durch den Geiger Andrej Bielow und die NDR Radiphilharmonie unter der Leitung von Frank Beermann ist tadellos und lässt kaum Wünsche offen.«
Pizzicato 09 / 11:
»Der junge Violinist verfügt über eine hervorragende Technik, die das Hören dieser Konzerte zu einem wirklichen Erlebnis macht. Aber nicht nur das, Bielows Spiel ist auch unwahrscheinlich musikantisch. Es ist eine reine Freude, zu hören, wie er in die schöne Musik von Sinding eindringt und sie zum Leuchten bringt.«
Pizzicato Supersonic Award September 2011
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