Lalo & Dubois: Concertos pour violon et orchestre & Symphonie Espagnol

Albumbeschreibung

In this album by Frederick Pélassy with the Slovak State Philharmonic Kosice (or, Orchestre National Philharmonic de Kosice [Slovaquie]), violin lovers have a lot to enjoy. The two works, which are essentially both concertos for the violin, demonstrate two completely different sides to Pélassy and the orchestra. Dubois' concerto is an engaging work, with an interesting orchestral beginning. Pélassy's violin sounds a bit rough as he enters, as one can hear all the bow changes and strokes, but this soon gives way to a liquid, legato style of playing, especially in the higher registers. Pélassy's tone is very solid and straight on, but not extremely legato here. The second movement also seems to fall a bit flat with its straight-on bow technique, which could easily be remedied with more vibrato. The ending of this movement is certainly beautiful. His playing sometimes recalls the style of one of his teachers, the great Yehudi Menuhin. Throughout the concerto, one can sense that Pélassy's high notes are strong and that he is a good musician, always on time and in accurate rhythm. The orchestra works in his favor, supporting him and playing the music well. One gets a sense of Pélassy's potential as a violinist at the beginning of the third movement of the Dubois, with his strong chords, and in his cleanly articulated, accented running passages. There is a brightness to both the orchestra and the soloist. While the cadenza is solid, Pélassy could push for more extremes in emotion. All of these criticisms become justified when one hears quite another side of the violinist in Lalo's Symphonie espagnole, who is a dazzling artist at work. The orchestra is violent as it comes alive at the beginning, and the violin begins passionately. Pélassy's phrasing is clearer here in the Lalo, and he climbs acrobatically through the fast runs. The Scherzando lilts beautifully in the orchestra, and the violin is sweet and tender. One cannot help but feel that a Slavic orchestra is well-suited to this sort of lilting, swaying, Latin-esque music. The third movement, which features two distinct sections, is less successful in the Intermezzo, only because the energy one can hear later in the Allegretto is lacking in the first section. The dark emotion that Pélassy captures by playing deeply into the string is complemented by a solemn, Sibelius-like brass beginning of the Andante. The final movement shows a beautifully playful and assured violinist, and the conductor does a good job in making sure the orchestra is with the soloist as he tosses off the lines with great technique. The Lalo shows Pélassy's ability to interpret so many different moods and styles; one can only wonder why the Dubois is not as successful. What is successful is the match between violinist and the orchestra, and here's to hoping they collaborate again in the future.
© TiVo