Pairing the Sibelius and Goldmark violin concertos is an interesting premise, and not necessarily because they are two lush concertos (though they are), and not even because the two composers knew each other (they did–Sibelius studied with Goldmark briefly). What is perhaps even more interesting is to compare the places these two works hold today in the pantheon of violin repertoire. The Sibelius, of course, is one of the ultimate musical warhorses and there are dozens upon dozens of recordings currently available, many of them quite good. The Goldmark, on the other hand, holds the dubious honor of having once been a very popular work that has fallen from favor. Together, these two concertos pose great challenges for violinist Joshua Bell: Can he reinvigorate the overly familiar Sibelius for our jaded ears? Can he persuade us into believing that the Goldmark is worth restoring to the concert hall?
As it turns out, the enormously talented Bell gives performances that should provide a resounding “yes” to both questions. He is an amazing player, confident and supple, and he infuses both works with a luminous energy. (If anything, I would have liked a bit less confidence in the first movement of the Sibelius; the work’s desperate, desolate quality gets a little lost in the sheen of Bell’s virtuosity.) Conductor Esa-Pekka Salonen and the Los Angeles Philharmonic are an excellent match for Bell; the Sibelius third movement in particular is muscular and meaty, and the musicians hone in on the piece’s ultimate restlessness. The pairing is almost a study in contrasts: while the focus of the Sibelius is outward explosions of virtuosity, the mood of the Goldmark turns inward, where Bell’s silvery, sweet tone caresses its lyric lines. The recorded sound is wholly natural, faithfully replicating the environment of Los Angeles’ Dorothy Chandler Pavilion. [11/12/2000]
