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RODE, P.: Violin Concertos Nos. 7, 10, 13 (Eichhorn, SWR Kaiserslautern Orchestra, Pasquet)

Composer(s):Rode, Pierre
Artist(s) Pasquet, Nicolas, Conductor • South West German Radio Kaiserslautern OrchestraEichhorn, Friedemann, violin
Period(s) Classical (1750-1830)
Genre Classical Music
Category Concertos
Catalogue 8.570469
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 


A student of Viotti, Pierre Rode was an eminent violinist active in early 19th century Paris who helped found the influential French violin school. Respected by Beethoven, Mendelssohn and Spohr, among others, Rode is mostly known for his 24 Caprices for Solo Violin, yet his 13 Violin Concertos are rarely if ever played. Friedemann Eichhorn, the soloist on this world première recording, has commented: “Working with these scores was a wonderful adventure... Rode uses sophisticated and often rich orchestration... As a counterpoint to effective virtuoso violin writing, Rode emphasizes the singing quality of his instrument”. The Violin Concerto No. 7 , the best known of the Concertos, was a favourite of Wieniawski, and one of the very few

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Review By Stefan Drees,www.klassik.com,March 2009

Die historische Stellung des französischen Geigers und Komponisten Pierre Rode (1774–1830) ist unbestritten, hat er doch mit seinen Werken die Entwicklung des Instrumentalkonzerts im 19. Jahrhundert in stilistischer wie spieltechnischer Hinsicht entscheidend beeinflusst. Während er von den Zeitgenossen hoch geschätzt wurde—Louis Spohr hat seine Werke besonders in den frühen Jahren seiner Karriere häufig aufgeführt, und das Violinkonzert Nr. 7 a-Moll op. 9 (1803) gehörte zu den wenigen fremden Werken, die Niccolò Paganini überhaupt jemals bei seinen Auftritten zu spielen pflegte—, wird sein Schaffen gegenwärtig kaum gepflegt oder ist auf die ‚24 Caprices’ für Violine solo verkürzt, die bis

Der Geiger Friedemann Eichhorn, der hier vom SWR-Radiosinfonieorchester Kaiserslautern unter Leitung Nicolás Pasquet begleitet wird, erweist sich als exzellente Wahl für diese Produktion. Grundsätzlich fasst er die Werke als zutiefst romantisch auf und gestaltet sie aus dem Geist des 19. Jahrhunderts mit vollem, wohltönenden und abwechslungsreich geformtem Klang—besonders schön ist in dieser Hinsicht etwa der Mittelsatz des Konzerts Nr. 13 gestaltet—, verbunden mit untrüglicher Sicherheit im Umgang mit den technischen Schwierigkeiten. Eichhorns sorgfältige Wiedergabe reißt mit und wirkt sehr schlüssig, obgleich er sich in den Kopfsätzen manchmal durchaus noch mehr Zeit für die solistischen Erkundungsgänge, für die Gestaltung von Fermaten, Zäsuren, Übergängen oder Phrasenenden hätte nehmen können. Gerade weil sich der Geiger den Werken aus der romantischen Perspektive nähert, hätte vielleicht etwas zusätzliche Agogik nicht geschadet, um den Solopart an einigen Stellen geschmeidiger zu machen, so wie dies etwa im Finalsatz von op. 9 oder auch an einigen Stellen aus dem Kopfsatz von op. 19 ohnehin sehr gut realisiert ist.

Besonders der Orchesterpart ließe sich—obgleich er viele schöner Stellen aufweist und durch das homogene Erscheinungsbild des Klangkörpers für sich einnimmt—bei der Wiedergabe der Begleitschicht noch feinfühliger denken. An manchen Stellen hätte Pasquet hier mehr herauszuholen können: mehr Transparenz im Klang vor allem in den zarten Mittelsätzen, mehr Flexibilität beim Umgang mit Begleitfiguren und -akkorden und manchmal auch, wie etwa in der Orchesterexposition des a-Moll-Konzerts, einen dynamisch ausgefeilteren Spannungsaufbau. Trotz dieser kleinen Einwände ist die Aufnahme aber auf einem sehr hohen Niveau angesiedelt more....

Review By Lance G. Hill,The Classical Music Guide Forums,March 2009

If you read any books about Beethoven, Pierre Rode’s name invariably comes up. Apparently, the man was very well respected during his lifetime. When you listen to the opening of this disc of the Violin Concerto No. 7 in A Minor, you will, like me, probably scratch your head in wonderment just why this music has been (unjustly) neglected. This is precisely the kind of music that Heifetz or Milstein could have and probably should have included in their repertoire right alongside the works of Mozart, Beethoven, Mendelssohn, and Brahms. Yes, it’s that good, and gives the violin a wonderful opportunity to show its stuff. This Seventh Violin Concerto was, apparently, very popular in its day, and with good reason. It’s got abundant melody, virtuosity, and the kind of

What is most noticeable in all the concertos is the outstanding and rich orchestration giving the violin a wonderful blanket of sound to overlay the accompaniment. Recorded in January and February 2007 in Germany, Friedemann Eichhorn (b. 1971) has an impressive background having studied in Mannheim with Valery Gradow, Alberto Lysy in Switzerland, and with Margaret Purdee at the Juilliard School in New York. Among the musicians he has performed with include Yehudi Menuhin, Igor Oistrakh, Gidon Kremer, Yuri Bashmet, Saschko Gawriloff. Eichhorn was appointed one of the youngest professors of violin at the Liszt School in Weimar in 2002. He has also taught at the Mozarteum in Salzburg and won many awards and prizes, is an editor for Schott, and contributes articles to publications.

The SWR Radio Orchestra-Kaiserslautern, conducted by Nicolás Pasquet (b. 1958) provides oustanding workmanship throughout the three concertos. On occasion, one observes some extraneous sounds such as slight pounding or the microphones picking up floor sounds. Otherwise, the sound is rich and full.

Hearing these three violin concertos only serves to make us want to hear the others.

Heartily recommended! And a huge thanks to Naxos for their outstanding and enterprising work for bringing us this forgotten music.

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Review By Giv Cornfield,The New Recordings, Cliffs Classics,February 2009

Rode was a French violin virtuoso active during the early 19th century. Every violin student is familiar with his exercises, yet his 13 violin concertos remained hidden from public hearing until now. Violinist Eichhorn plays stylishly and perfectly in tune, even if the music itself sounds unoriginal and derivative, yet offering plenty of scope for pyrotechnics. There is little depth of emotion in these works, designed to mainly show off the performer’s virtuosity.




Review By David Denton, Naxos,February 2009

Today’s aspiring young violinists will have ploughed dutifully through the instructional exercises of Pierre Rode, but few will have realised that he wrote thirteen virtuoso concertos of instant charm. Born in Bordeaux in 1774, he became the favourite pupil of Giovanni Viotti, the greatest violinist of his generation. From therein his career as a touring virtuoso was of mixed fortunes, adored by many but heavily criticised by others. It may well have been the negative comments that brought about his retirement and return to Bordeaux at the age of forty-seven, dying there nine years later. He had grown up  when music in France was gripped in the adoration of opera, his concertos containing the element of song yet with the titillation of outrageous

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