Brahms: Violin Concerto in D major, Op. 77 - Henryk Szeryng, LSO, Antal Doráti. Recording 1962

00:00 - I. Allegro non troppo
22:41 - II. Adagio
31:42 - III. Allegro giocoso, ma non troppo vivace - Poco più presto
Recorded: 7/1962, Great Britain

"Szeryng made three commercial recordings of the Brahms Violin Concerto. Chronologically, this one sits in the middle. The earliest dates from June 1958 with Pierre Monteux and the London Symphony Orchestra (BMG/JVC), and the latest was set down in April 1973 with Bernard Haitink and the Concertgebouw (Philips). It has been interesting doing a head-to-head of all three; I restricted my comparisons to the studio recordings, and have not included the excellent live version on Orfeo with Kubelik. Whilst all three are distinguished readings, it is the early Monteux collaboration that, for me, is the most compelling. It is vital, inspired and intensely dramatic. Tempi are a fractionally tighter, which gives it that extra spark. No longer available, I see that Sony Japan are re-releasing it as part of a twofer next month. The version with Haitink is my least favourite. Adopting broader tempi, it never really catches fire and doesn’t possess the same immediacy as its rivals.

All the qualities which attract me to Szeryng’s artistry are present in these two performances with Dorati. His grasp of the structure and architecture of the work gives it a logical sense of cohesion. The flawless technical command, pristine intonation and scrupulous attention to detail, with phrasing and articulation carefully considered, seal the performance’s success. His tone is notable for its warmth and radiance — indeed it is seductive. His ability to vary the speed of his vibrato enables him to achieve a myriad range of colour. He employs the all too familiar Joachim cadenza, which he dispatches with technical brilliance and refinement. The slow movement is fervent, and the oboe solo at the beginning is beguiling. The finale is propulsive, and is delivered with rhythmic punch. Antal Doráti secures favourable results from the LSO and there is clearly a sympathetic understanding between conductor and soloist, due to a single, shared vision." -- Stephen Greenbank

"His musical civility is the opposite of Jascha Heifetz's visceral energy, or Joseph Szigeti's sonic provocation. Mr. Szeryng's precise intonation, tonal sheen and gracious phrasing, can make the knottiest music elegant.

Mr. Szeryng's diplomatic ideal matches his musical style: ''I am in favor of conciliation and reconciliation and I am very much against confrontation.'' His playing seems to proclaim the universal perfectability of the world, diplomatically conciliating even the most vexing difficulties.

But those musical placations can also be unconvincing. There is another quality to Mr. Szeryng's music that makes it more provocative and less diplomatic - a suggestion perhaps, that to this violinist, who has had homes all over the world, cosmopolitanism is accompanied by a sense of exile, that his sweet description of his idyllic childhood may hide other feelings as well.

He speaks of World War II as if it were still taking place; he hints at the enormity of difficulties remaining despite diplomacy. In his best playing, in counterpoint to the tone of conciliation, are overtones of melancholic anxiety. Even in the best of all possible worlds - painted in Mr. Szeryng's conversation and in his playing - there may be disturbing tensions, forces which music can elegantly present but never resolve."

-- Edward Rothstein

"One of the music's great aristocrats, violinist Henryk Szeryng was a perfectionist in all things. A man of phenomenal intellect, he combined exemplary musical taste with a super-refined technique and ravishing purity of intonation." Julian Haylock – THE STRAD July 2009

[music-poetry]

Brahms: Violin Concerto in D major, Op. 77 - Henryk Szeryng, LSO, Pierre Monteux. Rec. 1958
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