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Heinz Holliger - Violin Concerto (Thomas Zehetmair)

Recorded 2002 | Released 2004

Gramophone "Editor's Choice"

Thomas Zehetmair (violin) - SWR Sinfonieorchester - Heinz Holliger (dir.)

"It’s not comfortable music, with Holliger’s usual atonal style made more cutting and astringent by the scoring, which includes a prominent cimbalom part, and tends to use instruments in their higher registers, giving the music a dangerously unsupported feel. The long third movement, “Ombres”, becomes a runaway nightmare, with screams from piccolos and driving percussion, and though the tempo is slow, almost static, in the final “Epilog”, there’s no sense of repose, as the soloist worries away at small fragments of material and finally disappears. Disturbing music, but the real thing." (BBC Music Magazine")

Personnel:

Thomas Zehetmair: violin

SWR Sinfonieorchester - Heinz Holliger (dir.)

Recording:

September & December 2002, Konzerthaus Freiburg / Propstei St. Gerold

ECM New Series 1890 (476 1941)

Info (ECM):

Heinz Holliger’s Violin Concerto, subtitled “Hommage à Louis Soutter”, is a musical portrait of the innovative Swiss painter who began his artistic career as a violinist, studying with the great Eugène Ysaÿe . Arguing that his painterly activity was an extension of his playing, Holliger “translates” Soutter’s agitated brushstrokes into pitches. Soutter’s troubled relationship to Ysaÿe is one of the concerto’s conceptual themes, as is the militant pacifism that found expression in his canvasses. In all, a fascinating, highly-detailed work, played with fiery intensity by Thomas Zehetmair, whose account of Ysaÿe’s third sonata – astonishing in its own left - becomes here a highly effective ‘foreword’ to the Holliger composition, laying bare one of its inspirational sources.

Track listing:

1. Eugène Ysaÿe - Sonate op. 27, Nr. 3 'Ballade'

2. Heinz Holliger - Violinkonzert - Deuil

3. Heinz Holliger - Violinkonzert - Obsession

4. Heinz Holliger - Violinkonzert - Ombres

5. Heinz Holliger - Violinkonzert - Epilog

Reviews:

The Guardian

Heinz Holliger’s unassuming generic title disguises a remarkable and substantial work in four linked movements, spun out of a web of extra-musical connections. … A distorted quotation from a solo violin sonata by Soutter’s teacher, Ysaÿe, is the starting point of the concerto, and the violin plays almost continuously, while groups of orchestral instruments cluster around it, providing a rapidly changing context for the solo lines. The music is often breathless and always compelling, before it congeals in the epilogue, inspired by Soutter’s presentiments of the second world war, in which the sense of impending catastrophe is unmistakable.

This recording, conducted by the composer, seems fabulously detailed and impassioned. Thomas Zehetmair is as persuasive and instinctively musical an advocate of contemporary works as he is of the standard concerto repertory, and he adds to the disc a performance of the original sonata with an outstanding concerto. That is totally compelling, too.

Fanfare

This new ECM release features a single immense work, the 1993-95 Violin Concerto, and it points to the emergence of a powerful individual voice in European music, more masterful and compelling than I’d hitherto imagined. … The work is in four movements, played without pause. The language is very much an offshoot of early 20th-century Germanic expressionism, but Holliger has thoroughly absorbed more contemporary influences, especially in the realm of orchestration. … While the Expressionist veneer of the music owes most to the fevered intensity of Berg, Holliger ups the ante in that he pushes the hysteria-envelope beyond almost anything I’ve ever heard. … It is overwhelming. Each time one thinks the music has reached its peak, it pulls back, retrenches, and sets off on a new course to an even more shattering climax. … The fourth movement comes as a relief, albeit one of collapse and suffocation, a sort of post-nuclear landscape over which the violin moans and keens. We’ve been through so much preceding it that it answers a need, even if the result is annihilation. …

The performances match the hyperventilated tone of the music note for note. Zehetmair is an extraordinary violinist, and ECM has recorded the piece in a way that, while it does not seem too artificial, emphasizes the surreal qualities of the score. The soloist is like a lost soul wandering confused (and often screaming) through an unimaginably ravaged landscape. The disc opens with a stunning performance of the Eugène Ysaÿe Sonata No. 3 for unaccompanied violin, which is used as a source for the opening of the concerto. …

I’m very enthusiastic about this release. Highly recommended.

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