Szymanowski – Wieniawski: Violin Concertos No.2

Karol Szymanowski – Violin Concerto No.2
1. I - Violin Concerto No.2

Leonidas Kavakos (violin)
Philadelphia Orchestra
Yannick Nezet-Seguin (conductor)

Henryk Wieniawski – Violin Concerto No.2
2. I - Allegro moderato
3. II - Romance. Andante non troppo
4. III - Allegro con fuoco. Allegro moderato

Bartek Nizioł (violin)
Sinfonia Varsovia 
Grzegorz Nowak  (conductor) 

Szymanowski. Written in 1932-3, Concerto No. 2 is very different from the first one - primarily in the sparing use of technical means. Complicated harmony and chromatisms have given way to diatonics and modal lucidity. The dominant role is played by the changes of colour - the evolutions of chord sounds, virtuoso figurations and melodic motifs. The simple, lapidary themes underlie, however, a rich musical narrative. Architecturally, Szymanowski revisits the single-movement form whose two sections are separated by a violin cadence - a design known from his Violin Concerto No. 1, Symphony No. 3 and Piano Sonata No. 3. While the first building block has the form of a sonata allegro culminating with two episodes in the slow part and a scherzo, the other one is constructed like a rondo whose main theme, rhythmic, merry and bouncy, is evocative of the Kurpie melodies and of the mood of the Podhale music, and ends with the initial theme of the first building block. ---culture.pl

Wieniawski. The finest of these is the D-minor Concerto, a work which, with its full range of virtuosity and lyricism, continues to be an essential in any violinist’s repertoire. A veiled orchestral melody sets the Concerto’s tone of pulsating Romanticism; the soloist continues it when he enters on this same theme that fully exploits the violin’s sweetness of tone. The first movement goes to the second, a soulful Romance, without pause, the link being a brief clarinet solo. About this movement, the renowned violinist Leopold Auer said, “It is a song to be sung in away to make us forget the instrument.” The gypsyish finale is prepared for by a short but fiery violin cadenza which prefigures the section’s vital dash and verve. In the course of the movement, a return of the first movement’s second theme brings an element of formal unity to a work that relies for its primary effect on the combination of bravura and melodiousness. ---Orrin Howard, laphil.com

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