Vadim Repin and Riccardo Muti take a surprisingly relaxed approach to Beethoven’s Violin Concerto–probably not one that you’d expect from a Russian violinist and an Italian conductor. The result is a rendition that evokes Mozart, emphasizing the music’s poise and elegance and making it clear that he was Beethoven’s model, even though any of Mozart’s concertos would almost fit whole into the time occupied by Beethoven’s first movement.
Repin produces a big yet sweet tone married to lovingly delicate phrasing. There is backbone in his performance, but some listeners might well feel that there’s not enough. Interpretively, Repin comes closer to the heartfelt lyricism of Perlman than to the more aggressively virtuoso stance of Heifetz, though both of these artists engage the emotions more than Repin does. “Pretty” doesn’t always equal “involving”, and at points in the outer movements the lack of tension begins to tell.
Repin chooses the Kreisler cadenza, which he plays with such freedom and spontaneity that I kept thinking he easily could have improvised a fine one of his own. Muti’s warm and attentive accompaniment suits Repin’s interpretation, and when it’s the orchestra’s turn in the spotlight–the first-movement recapitulation, the tender opening of the Larghetto, or the boisterous dancing of the finale–he lets the Vienna Philharmonic shine in all its polished glory. The recording is beautifully balanced, with the soloist sounding naturally positioned in front of the orchestra.
The “Kreutzer” Sonata recording is a good bit drier, which gives a somewhat edgier sound to Repin and Martha Argerich’s performance. Of course, you expect fireworks whenever Argerich is playing, but here she places her stunning virtuosity wholly at the service of Beethoven. Even so, Repin catches a bit of her fire and sets off more sparks than he did in the concerto–especially in the turbulent first movement. Afterward the duo creates a magical atmosphere in the stately Theme and Variations, where both musicians fairly sing through their instruments. Packaged on a second disc, the sonata recording makes for an enticing bonus for Repin’s and Muti’s enjoyable, if not unforgettable, concerto performance.
