Nemanja Radulović’s catalogue of recordings includes concertos by Khachaturian, Paganini, and Tchaikovsky, as well as solo and chamber works. Three of his previous recordings have received positive reviews on this site, with one writer expressing his eagerness to have “…other [recordings of] old warhorses.” And a new recording of Beethoven’s violin concerto certainly fits that description.
In recent years I have reviewed three recordings of this work, played by Midori, Veronika Eberle and María Dueñas. All three embrace a gentler, subtler interpretive approach. Radulović and Double Sens, however, adopt an altogether more vigorous style. This does not mean faster than normal tempos, as all three movements fall within normal parameters. But there is greater energy, an extended dynamic range, and a consistent forward momentum that make those earlier readings a bit polite by comparison. The difference in approach is already apparent in the opening of the first movement: the orchestra (strings at 6/5/4/3/2) offering robust accents and sharp articulation, winds forwardly balanced, timpani struck by hard mallets. Dynamic markings are scrupulously observed, and there is a tremendous buildup of anticipation for Radulović’s first entrance, which makes his temperate entrance more affecting. He allows himself a good amount of rhythmic freedom, like Kopatchinskaja’s approach, though Radulović utilizes a greater variety of strokes and weight in his bow. There are several moments where his rhapsodic freedom stretches the boundaries of classical style without ever crossing a line (arguably a line that Kopatchinskaja does sometimes cross in her performance).
The playing of Double Sens is splendid, offering power, color, and character. Without a conductor, there is a considerable connection between the soloist and players, a singular vision that heightens the many moments of back-and-forth dialogue in Beethoven’s score. The Rondo, which exudes an infectious joy, is a particular highlight.
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I do not mean to suggest the performance is solely focused on overt showmanship. The Larghetto is played with sensitivity and refinement, generating a rapt atmosphere of contemplation, Radulović at times whittling his tone down to a delicate whisper. As much as I was taken with the beauty and vulnerability of María Dueñas’ reading, this performance finds an even greater range of emotion.
Radulović’s string orchestration of the “Kreutzer” Violin Sonata makes for an unusual and substantial coupling. While there were moments where I missed the difference in timbre and attack that the original piano offers, the orchestration allows us to hear aspects of the score in a new way, and the sincerity and intensity of this arrangement is never in doubt. The opening slow introduction is searching and fragile, answered by a raging presto in which the string ensemble’s unanimity is consistently thrilling. And how magically Radulović and the orchestra inhabit the music’s shifting mercurial moods – again, a sign of the deep connection between these musicians.
The second movement reveals Radulović’s orchestration skills, with distinct changes in color and atmosphere for each of the five variations. The frisky lightness of the first variation (3’10”) and the gloomier F-minor variation are highlights, the final (and longest) variation particularly touching. The final movement is a tour-de-force of madcap banter.
Ancillary materials are satisfactory. It is good to see the orchestra members listed and Radulović’s introductory note is lovely, though I would appreciate more notes about the music itself – surely he could have written more about his orchestration of the sonata. But that is a small complaint in the face of such impressive music making. I join my colleague in hoping that Radulović continues to explore and record more “old warhorses” – strongly recommended.
Beethoven – Violin Concerto
Nemanja Radulović, Violin
Double Sens
Warner Classics, 5419774339
Recommended Comparisons
Kopatchinskaja & Herreweghe | Perlman & Giulini | Shaham & Jacobsen | Schneiderhan & Jochum
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