![]() The Concerto remained the composer’s only work in the form yet he contemplated a successor and continued to work on smaller pieces for violin and orchestra until as late as 1929. He knows when it’s folk music, when it’s not, when it’s a kind of quotation from an old theme, and when it’s not.’ The conductor Paavo Järvi feels it wrong to ‘cherry-pick’: ‘Can you imagine a violinist who plays the Sibelius Concerto but has never heard any other music by Sibelius, and whose only reference for Sibelius is the Heifetz or the Oistrakh recording? You can tell by the way they play it that they haven’t heard another note of Sibelius! … Listen to Pekka Kuusisto … and it’s different because he knows the rest of the Sibelius output. Prioritising harmonic coherence over superficial incident, she played it tenaciously for half a century.įrom the circumspection of Janine Andrade to the golden syrup of Pinchas Zukerman, the options are many and various.Īnd with abundance has come renewed debate about what kind of piece it really is. It is, as Haendel herself remarked, ‘not a work for the mediocre … There’s nowhere to hide if you play every note’ and ‘every note is very valuable’. But above all I congratulate myself, that my Concerto has found an interpreter of your rare standard.’ ‘I congratulate you upon the great success. It was she who received his cheekiest imprimatur in 1949. Ida Haendel features in the lists alongside Karel An čerl (Supraphon, 10/14), Paavo Berglund (HMV, 6/76), Zubin Mehta (Decca, 12/20) and Simon Rattle (from the 1993 Proms). See also: Klaus Mäkelä interview – ‘You don’t have to play for the hall you just have to seduce the microphones’įor years Sibelius was to be found assuring those brave enough to participate in a broadcast performance that their interpretation held some special quality. The Violin Concerto, so popular today that no survey can do more than peek into its discography, was as yet unrecorded. Two symphonies had lately joined the clutch of shorter orchestral works available for home listening. By November 1931, Gramophone was proclaiming the ‘voice of Jean Sibelius … a trumpet call to the courage of man’.
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