Jennifer Koh, Putting Tchaikovsky in Context

Cedille CDR 166

Let me start here with a confession:  I have never been a real big fan of the Tchaikovsky Violin Concerto.  However I am a huge fan of Jennifer Koh and of Cedille Records in their intelligent productions which place music like this in a more proper context.  The usual pairings of this concerto with Brahms or Beethoven only seem to highlight the distinct difference in style rather than a context more conducive to the appreciation of the music. Another problem with Tchaikovsky is that his reputation tends to hang on the 1812 Overture, the Violin Concerto, the first Piano Concerto and the last three Symphonies.  He wrote a lot more than that (including ten operas and three string quartets).

Now with that bit of whining out of the way let’s take a look at the recording at hand.  Jennifer Koh is one of the shining lights of contemporary violin soloists and that alone should be sufficient recommendation to listen to any of her recordings or performances. She holds a special place in this reviewer’s heart for her attention and expertise with contemporary music and for having performed the solo violin part in the most recent production of Philip Glass’ Einstein on the Beach.  In costume with a shaggy wig she brought new and highly virtuosic life to that obbligato violin part.

It is her virtuosity and her perspective as one of the more recent generations of artists to wield this classic string instrument that holds the main interest here.  The Tchaikovsky concerto has been the darling of all the great violinists from Heifetz and Kreisler to Milstein and Stern. I suppose that every violinist must confront this work at some point and it is a genuine challenge as well as a showpiece for virtuosity.

The other works on this disc (which are presented chronologically) are the Serenade Melancolique Op. 26 (1875), the Valse-Scherzo Op. 34 (1877) followed by the Concerto Op. 35 (1878) and finally the Souvenir d’un lieu cher Op. 42 (1878, originally for violin and piano orchestrated by Alexander Glazounov and published in 1896).  Hearing this concerto in the context of the composer’s other works for violin and orchestra does more clearly delineate the composer’s process.

In addition to providing a complete accounting of Tchaikovsky’s violin and orchestra music listeners are able to hear the interpretation by this wonderful artist.  Indeed she does truly grasp the grand romantic sweep of the concerto and the more intimate shorter works. Let me say too that if you like the concerto you will also find much delight in the shorter works which frame it on this disc.  Her virtuosity shines and Koh’s ability to handle romantic as well as modern repertoire certainly mark her as a versatile modern master.

Of course one can’t miss the powerful contribution of the orchestra in considering these performances.  The Odense Symphony Orchestra (Denmark) is absolutely stunning in its clarity and drive.  The conductor Alexander Vedernikov is of Russian musical royalty (both his parents were accomplished musicians) and was the conductor of the Bolshoi from 2001-2009.  He is definitely a name to follow and his feel for this music of his homeland is most genuine and exciting.

This truly excellent recording is produced by Grammy winning veteran producer Judith Sherman.  Session engineering is by Viggo Mangor with post-production and editing respectively by Bill Maylone and Jeanne Velonis.  Audiophiles might even want to have this disc for the sound alone.  It’s that good.