Thomas Bowes violin
Sinfonia Arcadiana
Nic Fallowfield conductor
Rubicon RCD1224
Elgar’s Violin Concerto has had an illustrious recording history, even although it is technically one of the most demanding in the repertoire and one of the longest, requiring great stamina from the soloist.
The first recording with Marie Hall, was made in 1916 in a heavily cut version with Elgar himself conducting. The first complete recording was made by Albert Sammons for Columbia in 1929 and in 1932 came what is probably the most celebrated version with a very young Yehudi Menuhin, and again conducted by the composer. There are well over 20 versions in the catalogue, so one may legitimately ask what the justification may be for another.
The answer would seem to be that the very fine soloist, Thomas Bowes, felt an imperative need to record some Elgar, whose music had, since his teenage years, been a source of both solace and inspiration. Unlike Menuhin, he comes to the work as a mature interpretative artist, clearly at the height of his powers. This is in no way to disrespect either of Menuhin’s recordings, but is simply a statement of fact. Bowes’ tone is full and rich in harmonics or overtones, if one prefers. However one describes it, it is a beautiful sound which is ideal for Elgar’s most personal symphonic statement.
The formidable technical difficulties are surmounted effortlessly and the listener is held enthralled for the duration of over 50 minutes. This is not as expansive as some, with Ida Haendel and Sir Adrian Boult taking close on 55 minutes, but always the music is given room to make its effect with nothing scamped or hurried, a notable achievement given the uncompromising nature of the writing. This is a performance fit to stand comparison with any in the current catalogue.
We are also treated to 20 minutes of Elgar’s charming miniatures, mostly initially intended for violin and piano. The orchestral arrangements by Eleanor Alberga, the wife of the soloist, are entirely idiomatic and fully complement the main work. The orchestra, Sinfonia Arcadiana, is described by Thomas Bowes as, ‘that mystifying thing – a recording orchestra, or to put it more plainly, a session band.’
He then warns us not to underestimate their pedigree, as it consists of players of vast experience who have clearly made a personal commitment to the project and this is audible in their contribution to the recording. From the technical point of view, the balance between the violin and the orchestra is never less than perfect and sounds completely natural. Fortunately, the practice of ‘spotlighting’ a soloist in a concerto recording appears to have died out, something which was particularly prone to occur with the violin. An outstanding release.
Review by Martyn Strachan