Page 98 - The Strad (February 2020)

RECORDINGS

by a rough and very characteristic
humour: Beethoven in the mood to
sink a few pints and settle a few
scores. Yet he was equally capable of
delicacy of feeling, which is captured
so deftly by Ori Epstein in drawing
out the opening melody of op.69.
e philosopher-poet of the op.105
sonatas is accorded time to make his
points: these are ruminative works
unlike the more capricious and
densely argued late quartets, and they
require patience of both performers
and listeners. e Epsteins
understand this well. Jack Liebeck: tender
'£37<'2$' !2& -2)2-;' $!8'
Perhaps the joie d’esprit of the
variations is a casualty of such
serious-minded playing, and Omri
Epstein takes over as the more of the rippling demisemiquavers and Stuart Hancock lays bare his
characterful musician of the pair. the fervour of the Allegro non troppo. credentials as an accomplished
However, not since the Isserlis/Levin Wallin and Pöntinen play Brahms’s
lm and TV composer with the
partnership on Hyperion have A major Violin Sonata with open- rousing opener, Variations on a Heroic
I encountered a more artistically hearted warmth, the melodies shaped eme. More nuanced – but with
complete account of the sonatas, with generous expression. In the
nal tendencies towards a Hollywood-style
nor one so full of care and surprise. movement their constantly changing orchestral ourish – is his Violin
PETER QUANTRILL tone colours reveal an emotionally Concerto. Written originally for
complex musical landscape. Paul Barrett and the Southbank
e
rst movement of the Sinfonia, the concerto premiered
BRAHMS The Five Sonatas for Violin D minor Sonata is full of subtly on the same bill as John Williams’s
!2& -!23 3£W V 32!;! -2 *!; 1!/38 crafted little questions, many Bassoon Concerto, so Hancock had
36W 23W U 32!;! 23W
2 1!/38 consisting of only a few notes, the full bene
t of that work’s large
36W U 32!;! 23W -2 1-238 36W ¥ some of which end in almost orchestral forces.
Ulf Wallin (violin) nothing, nestled within playing of Writing on such a grand scale
3£!2& Ø2ধ2'2 l6-!23m exuberant melodic expression. e clearly suits him, and his gift for a
BIS 2419 (SACD) Adagio has veiled beauty, the third sweeping, heart-rending theme
-$,£@ $3£3<8'& 6£!@-2+ -2 ;,' movement has charm, and the
nal makes this a thoroughly indulgent
9'$32& =3£<1' (831 ! ;'88-)$ &<3 Presto is all terri
c nervous energy. pleasure. Jack Liebeck never
Roland Pöntinen is a sensitive disappoints in unfolding its delicate
is is Ulf Wallin’s second CD of partner. e recorded sound is themes with tender eloquence and
Brahms’s
ve violin sonatas, with the generous and clear. in
nite care. e language here is
well-known three plumped up by TIM HOMFRAY always
rmly Romantic, but
Brahms’s own arrangements of his Hancock’s Ravelian textures are
two clarinet sonatas. In the
rst luminous and exquisitely detailed,
movement of the E at (clarinet) RAPTURES and with Liebeck’s expressive
Sonata Wallin is sweeping and HANCOCK !8-!ধ329 32 ! '83-$ virtuosity it all adds up to far more
elegiac, gentle and con
dential. e ,'1'U -3£-2 32$'8;3U !6;<8'9 than simple nostalgia. e expansive
second movement is more robust and Jack Liebeck (violin) BBC Concert second movement is particularly
muscular. Wallin’s sound is rich, with Orchestra/Levon Parikian stirring, and the opening moments in
some dark-coloured vibrato. e
nal ORCHID CLASSICS ORC100111 which the violin spins a grief-laden
Andante con moto seems full of '; 9>'6; <6 #@ ! ;,383<+,£@ '2/3@!#£' melody in counterpoint with the KAUPO KIKKAS
private thoughts until the animation $32;'1638!8@ =-3£-2 $32$'8;3 oboe are perfectly judged.
96 THE STRAD FEBRUARY 2020 >>>W;,'9;8!&W$31