No, the world is not exactly screaming for another recording of Tchaikovsky’s Violin Concerto, even one as attractive and energetic as this; but happily Vadim Repin couples this ever-popular chestnut to the rarely heard and simply marvelous Violin Concerto by Miaskovsky, catapulting this CD into the “essential acquisition” category, even if you already own five or six dozen versions of its disc-mate. To be honest, Repin plays this most brilliant of Romantic violin concertos with all of the fire and swagger it requires, and Gergiev matches him moment by moment. It’s a reading very much in the Grand Manner, featuring boldly throbbing lyricism in the first movement’s big tunes, a passionately sung Canzonetta, and a finale that erupts like wild fire. Yes, Repin and Gergiev exaggerate the last movement’s second subject, slowing way, way down before taking off again like a shot–but why deny them a little fun?
It might seem that Miaskovsky’s reticent musical personality would rule him out as a successful composer of a big violin concerto, where the need to match the soloist against the full orchestra demands a high level of offsetting virtuosity. Not to worry: this splendid work, originally premiered by the young Oistrakh (whose recording is not readily available), does everything a great violin concerto must. True, the moody first movement isn’t exactly a hotbed of violinistic fireworks, but its tunes are memorable, the ensuing Adagio is lovely, and the finale effortlessly offers a satisfying sense of resolution with none of the problems of movement and pacing that afflict so many Romantic concerto finales. Best of all, Repin plays as though he believes in every note, which alone justifies purchase of the disc.
Taken from live performance, these are very brilliant recordings, very close and high level. No way does the Kirov Orchestra, lower strings especially, sound anything like this live. Indeed, it sounds much better here than in reality, a perfectly legitimate use of technology as far as I am concerned. As long as you don’t expect a realistic concert-hall ambience, be prepared to sit back and enjoy more than 70 minutes of high-voltage music making, and in the case of Miaskovsky, to make the acquaintance of a neglected masterwork.
