Vieuxtemps: Violin Concerto No. 4 in D, Op. 31

Hyperion’s Romantic Violin Concerto series reaches volume 8 and the music of the Belgian composer Henry Vieuxtemps, himself widely considered the finest violinist in Europe after the death of Paganini. Listening to the repertoire recorded here, he certainly deserves to be ranked among the most important composers for the violin in the mid-nineteenth century. Vieuxtemps never indulged in sheer virtuosity for its own sake; instead in his concertos and chamber works he brought a more classical dimension to the violin repertoire in place of the technically brilliant variations and fantasies on popular operatic themes that were so popular with audiences.

The Violin Concerto No 4 in D minor Op 31 which Vieuxtemps composed while he was court violinist in St Petersburg, is an heroic work on a substantial scale. It was described by Berlioz—who was perhaps comparing it with his own Harold in Italy for viola and orchestra—as a symphony with violin solo. In fact Vieuxtemps’s writing for the orchestra is as assured and resourceful, and sometimes as imaginative, as his treatment of the violin, though there is no doubt that the solo instrument remains the leading actor in the drama, reaching heights of stratospheric virtuosity throughout. Violin Concerto No 5 in A minor Op 37 was written a few years later, in 1858–9, at the request of his friend Hubert Léonard, as the test-piece for a competition at the Brussels Conservatory. The work was, therefore, expressly designed to test the capabilities of (very advanced) student players, but it has maintained itself in the repertoire on its own merits and probably surpasses the Fourth Concerto in popularity. Fantasia appassionata Op 35 was probably written shortly after the Fifth Violin Concerto, in 1860. Unlike the concertos this is more frankly a vehicle for transcendental technical display, but expertly cast in a single movement of several effectively contrasted sections that achieves a balanced form as well as the exhibition of the player’s prowess.

The young virtuoso Viviane Hagner, a former BBC New Generation artist, acclaimed for her highly intelligent musicality and passionate artistry, appears in her Hyperion debut.

Massimo Quarta is among the very top interpreters of Paganini’s music. He now turns his hand to Henri Vieutemps, a composer who occupies an important place in the history of the violin as a prominent exponent of the Franco-Belgian violin school during the mid 1800s.

The bulk of Vieuxtemps's compositions were for his own instrument, including seven concertos. The 4th and 5th concertos are some of Vieuxtemps’ most beautiful.

These concertos suit Massimo Quarta very well. His performing is not only virtuosic but very lyrical.

In the 1930s the United States was the mecca for musicians but only the outstanding ones could hope to launch a career. Rene Charles (Zino) Francescatti made his US debut, aged 37, in 1939 playing Paganini’s first concerto with the New York Philharmonic conducted by Barbirolli. He was eventually recognised as one of the world’s leading violinists. This collection brings together his best commercially issued recordings, mainly of French music, in new digital transfers.

This is really an event in the world of recordings. Producing all of Vieuxtemps’ seven violin concertos is quite an undertaking. Too much for a single person? It may be. For Augustin Dumay, master teacher-in-residence at the Chapelle Musicale Reine Elisabeth, however, this was the opportunity to pay tribute to the vitality of the Franco-Belgian school, the substance of which he learnt through his master Arthur Grumiaux. The task was taken up by seven young virtuosos he has taught, several of whom have already distinguished themselves in major international competitions. This is the result, impressive by its commitment and mastery, registered in the beautiful hall of the Liege Philharmonic, where the orchestra plays Vieuxtemps in its own backyard under the expert baton of Patrick Davin.

This attractive box of 3 CDs is also the opportunity to retrace Vieuxtemps’ extraordinary career, often reduced to mere virtuosity when in fact he pursued a search for expression and content all his life.

This is a hymn to the violin, to belcanto, panache and romanticism