This is an ambitious program for a first release, not only for these works’ vast recording catalog, but also for their sheer technical demands and structural complexities. An additional challenge is to persuade both in the late romanticism of the Tchaikovsky Violin Concerto and in the attractive subtleties of Barber’s Concerto in equal measure.
Johan Dalene approaches the technically demanding Tchaikovsky with a youthful energy that at times pushes the boundaries of control but that ultimately delivers excitement. A mature musicality balances out the virtuosity. His first movement entrance speaks in a pleading fashion, beckoning the listener. What follows, where Dalene takes his time, is beautiful, especially with his nice vibrato and clarity of articulation (7’26”-7’51”). If there is any drawback to this movement, it is the slightly overly-brisk tempo. While the movement sounds sprightly, the pacing does make him sound rushed. Certain phrases, such as those in the cadenza, are clipped. Perhaps scaling back on the tempo would allow the listener to take the time to appreciate his playing even more. One recording that does this well is Nemanja Radulovic’s, reviewed on these pages (DG, 2017). Radulovic blends fluidity with a relaxed tempo, lending both refinement and richness to the movement.
The third movement puts Dalene’s sparkling technique on full display. With an excellent Spiccato, his lines have a simultaneous sense of drive and lightness. The movement comes alive through the soloist’s ability to transform the sound of the violin across different registers, giving it an almost human-like quality. He uses the husky nature of the lower range to make the violin speak enticingly, while his upper register playing sings elegantly. Some of the first movement issues do come up here, namely the rushing of phrases. Given the already quick tempo of the piece, some of his accelerandos can sound extreme, and the violin entrance could use a better tempo balance to sound more convincing. Consider, for instance, Daniel Lozakkovich’s version in his 2019 DG recording (reviewed here): in addition to a more measured tempo overall, he takes more time at the beginning. This creates suspense, somewhat like the tension of a catapult, before the movement really takes off. Aside from these points, however, the movement is an exciting finish to a solid performance.
Related Classical Music Reviews
- Review: Tchaikovsky – Violin Concerto – Lozakovich, Spivakov
- Review: Radulovic Performs Tchaikovsky’s Violin Concerto
- Review: Beethoven And Sibelius Violin Concertos – Christian Tetzlaff
The Barber Concerto is a fitting complement to the Tchaikovsky. Where the Tchaikovsky is flashy and brilliant, the Barber is deeply introspective. Dalene’s interpretation is a must-listen, showing him as an artist who possesses a rare musicality. The opening is impressive, the color and character of his tone possess a contemplative presence, quire different than Isaac Stern, who establishes his presence with a sweeping, passionate entrance on his 1965 Columbia Masterworks recording. Delicate yet highly expressive, Dalene’s connection to the music is deep throughout. The orchestra is stellar: where it was a bit forceful and rushed in the Tchaikovsky, it is expansive, powerful, and sensitive in the Barber. There is a unique sense of storytelling to the suspense and drama it creates, the dialogue and balance between soloist and orchestra are strong, creating a seamless integration. Listen, for example, to Dalene’s sustained high note which supports the orchestra’s melody (3’58”), and the smooth, almost imperceptible exchanges as he comes to the forefront
The second movement is a study in subtlety: the pensive nature of this movement and its tempo can pose a musical challenge in terms of momentum and large scale structure. However, both Dalene and the orchestra show good consideration for these elements, knowing just when to push forward and hold back. This, coupled with the solid coordination of the previous movement, builds the movement organically while still allowing to fully appreciate the composer’s unique compositional language. The architecture of the movement is clearly defined through a good contrast of character and attention to harmonic colors. Listen, for instance, to the moments leading up to the gratifying arrival to E major at 5’57”.
The extroverted third movement is an interesting contrast to the other two. Dalene once again shows effortless virtuosity and great bow control. Despite the movement’s “Perpetuum Mobile”, he pays nice attention to varying articulation and dynamics and as a result, does not sound technical or uniform. This is also supported by the orchestra: the strong brass section gives sharp punctuation and energy to the piece.
The sound engineering is generally well-done, bringing vibrancy to both soloist and orchestra (though the timpani comes through a little too sharply in the Tchaikovsky). With an impressive debut recording such as this, we can certainly look forward to what Dalene has to offer in the future.
Tchaikovsky – Violin Concerto, Op. 35
Barber – Violin Concerto, Op. 14
Johan Dalene – Violin
Norrköping Symphony Orchestra
Daniel Blendulf – Conductor
Bis Records, Hybrid SACD BIS-2440
Tchaikovsky and Barber Violin Concertos – Recommended Comparisons
Read more classical music reviews or visit The Classic Review Amazon store
Follow Us and Comment:
Get our periodic classical music newsletter with our recent reviews, news and beginners guides.
We respect your privacy.
