Sibelius & Rautavaara: Violin Concertos

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I love the parallels between these two Finnish concertos which Feldman and Kantarow draw out, from the especially ethereal treatment of the opening of the Sibelius (which anticipates the disembodied... — Katherine Cooper, Presto Music, May 2018 More…

Release Date: 18th May 2018
Catalogue No: ALPHA357
Label: Alpha
Length: 58 minutes

Presto Editor's Choice

May 2018

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Rautavaara: Violin Concerto: I. Tranquillo

Work length13:31

$2.05

$3.05

$4.05

Jean-Jacques Kantorow, Orchestre Philharmonique de Liège, Tobias Feldmann

Rautavaara: Violin Concerto: II. Energico

Work length12:05

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$3.05

$4.05

Jean-Jacques Kantorow, Orchestre Philharmonique de Liège, Tobias Feldmann

Sibelius: Violin Concerto in D minor, Op. 47

Work length32:48

Album only

Jean-Jacques Kantorow, Orchestre Philharmonique de Liège, Tobias Feldmann

I. Allegro moderato

Track length16:04

Album only

II. Adagio di molto

Track length8:46

$1.50

$2.30

$3.05

III. Allegro, ma non tanto

Track length7:58

$1.50

$2.30

$3.05

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Following his Alpha recording of sonatas by Prokofiev, Ravel and Strauss, the violinist Tobias Feldmann now turns to the concerto form, performing the two major works of the Finnish repertoire for the instrument: the violin concertos of Jean Sibelius and Einojuhani Rautavaara. Premiered in Helsinki in 1904, the Sibelius Concerto proved to be exceptionally difficult technically for the soloist. Sibelius revised his score, but subsequently composed for violin and orchestra only in shorter forms, the serenade and the humoresque. It was not until nearly seventy years later that a Finnish composer wrote another large-scale work for violin and orchestra, with the Concerto of Rautavaara, which in all respects equals the degree of virtuosity demanded by the earlier work.

Reviews

May 2018

I love the parallels between these two Finnish concertos which Feldman and Kantarow draw out, from the especially ethereal treatment of the opening of the Sibelius (which anticipates the disembodied arctic soundscape at the beginning of the Rautavaara) to the very present timpani in the finale of Sibelius which mirrors the strange scherzo-like passage at the beginning of Rautavaara’s long second movement.

20th May 2018

Rautavaara’s two-part work (1977) is a colourful late-tonal excursion inspired by his alma mater, Manhattan — obverse of the Finnish landscape. As in the Sibelius, cadenzas are integral, but the soloist is asked to improvise. The lustrous-toned Feldmann does so convincingly.

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Sibelius & Rautavaara: Violin Concertos

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