Stravinsky’s Suite Italienne and Divertimento are essentially arrangements of his Pulcinella and Divertimento ballet suites for violin and piano. As such, both scores gain in immediacy and clarity as well as increased rhythmic sharpness in the more animated passages. However, this comes at a sacrifice of Stravinsky’s brilliant orchestra colorings–especially in the Tchaikovsky-derived Divertimento (most notably the horns in Dances suisses). Still, Dora Bratchkova’s exceptionally vivid renderings (persuasively accompanied by Aldo Orvieto in the Suite and Violeta Popova in the Divertimento) make you temporarily forget the fuller, more varied sound of the orchestral originals.
No such concerns apply to the Duo concertant, which originally was composed for violin and piano and is based entirely on Stravinsky’s original thematic material. Like the contemporaneous Violin Concerto, the Duo concertant employs older musical forms as a framework for the composer’s unique harmonic palette and trademark rhythm syncopations. The result is a stirring, starkly beautiful work that sounds ideally suited for this instrumental combination. The piano writing is exceptionally busy, providing Andreas Meyer-Hermann with much opportunity for virtuoso display. No less so for Bratchkova, who plays with great poise, energy, and rhythmic control, particularly in the bustling Eglogue 1 and spirited Gigue. In all it’s an engaging and musically satisfying recital, presented in solid, well balanced sound. [1/20/2004]
