Cello Concerto No. 1 Op. 46 in A minor
1.1. Allegro moderato
2.2. Andante
3.3. Finale: Allegro

Cello Concerto No. 2 Op. 50 in B minor
4.1. Allegro
5.2. Adagio
6.3. Finale: Allegro con moto

7. Capriccio c-moll op. 55 "Hommage à Paganini"

Wen-Sinn Yang – cello
Evergreen Symphony Orchestra
Gernot Schmalfuss - conductor

The Belgian composer Henri Vieuxtemps was one of the most important violinists of the nineteenth century and therefore first and foremost preferred to compose violin concertos. His two cello concertos are not as familiar as his violin concertos. In concert guides Vieuxtemps is frequently assigned to the virtuoso school of the nineteenth century, but this limiting judgment hardly does justice to his tonally beautiful, skillfully instrumented, and symphonically designed works. Nevertheless, his cello compositions number among the masterpieces penned by him. These are most highly effective works with fiery passages as well as many delightful ones. The encore on this CD, his Capriccio op. 55, was originally written for the viola, an instrument that he likewise enjoyed playing. It too was first published after its composer's death and is designated as a musical »Homage to Paganini.« In his twenty-four Caprices op. 1 for violin the Italian »devil of a violinist« Niccolò Paganini had presented exemplary models for highly effective solo numbers, and Vieuxtemps too admired this epochal musician, whom he first heard play in London in 1834. His work is energized by sumptuous multiple stops clearly generating more power on the cello than on the viola. ---jpc.de

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Six Salon Pieces (Six Morceaux), op. 22 (1847)
1.Morceau brilliant de salon [5:22]; 
2.Air varié [8:44]; 
3.Rêverie[6:45]; 
4.Souvenirs du Bosphor [8:16]; 
5.Tarantelle [4:53]; 
6.L’Orage [5:46]

Voices of the Heart (Voix de Coeur), op. 53 (1880)
7.Tendresse [5:46]; 
8.Décision [31:19]; 
9.Mélancolie [4:34]; 
10.Barcarolle [3:28]; 
11.Rêve [5:51]; 
12.Interrogation [2:49]; 
13.Souvenir [4:26]; 
14.Pourquoi? [4:52]; 
15.Théme et variations [4:25]

Philippe Koch (violin); 
Luc Devos (piano).

The reputation of Henri Vieuxtemps comes to us via the history books as a leading violinist of the nineteenth century. Yet he took composing seriously and in turn was taken seriously as such during his lifetime. While still in his teens he was gaining some fame in respect of both activities. Schumann heard him play in Leipzig and wrote a review comparing him to Paganini. Vieuxtemps was then only 15 and within weeks he was playing in London where Paganini was already wowing the public. Vieuxtemps was hugely impressed by the great man’s playing but this proved to be mutual. Paganini heard Vieuxtemps and declared a great career ahead. Less than two years later in 1836 he had completed his first violin concerto (now published as No. 2). When in Paris in 1841, Berlioz heard the work and publicly wrote that Vieuxtemps was developing skills as a composer equalling his playing virtuosity.

With hindsight this may seem an exaggerated claim, but what impressed Berlioz and others about Vieuxtemps’ compositions was the attempt to elevate the violin/orchestra form to something more than just a vehicle for violinistic display. Paganini was, of course, the leading exponent of that sort of thing but Vieuxtemps attempted works of more symphonic pretension. His ambition probably outstripped his compositional powers. Nevertheless, several recent recordings are testimony to a revival of interest in these works. You can hear them for yourself - see review of three of the concertos here.

This disc presents a genre in which Vieuxtemps is perhaps more naturally at home. I was not relishing the prospect of sitting through a string of 15 light salon pieces for violin and piano lasting nearly ninety minutes; yes, it’s a generous disc. Once stuck in though, I found myself enjoying each and looking forward to the next one. The numbers are carefully arranged so that there is contrast– in mood, tempo, texture and technique - and this helped carry me along.

In turn, there is contrast between the two sets. The Six Morceaux are the work of a young man whilst the Voix de Coeur have a certain swan-song character, being written shortly before the composer’s death. The earlier pieces are, on average, significantly longer than the later ones. As so often with composers, maturity carries greater conciseness, concentration and simplicity. Overall, what brings interest to these pieces relative to all the violin salon trivia written in the nineteenth century is greater musical interest, refusal to rely on violinistic display and a lack of sentimentality. Some might think the music benefits from a certain French sophistication.

Most of the pieces consist of tune and contrasting counter-tune. This sometimes gives an impression that we are being launched into a sonata-form movement. The fact that such promise is not fulfilled is probably no bad thing for I suspect Vieuxtemps’ powers of development might not easily sustain such an enterprise. However, some pieces are skilfully wrought. The Tarantelle in the first set has a second, contrasting lyrical tune but Vieuxtemps keeps the dance rhythm pounding along across the seam between the melodies.

The second set, Voices of the Heart, has an air of ruminative melancholy about it. In fact it was the piece, Melancolie, that impressed me most of all. Untypically it is monothematic; the whole thing being steadily built out of a four note motto building to a moving climax.

In playing these works, many violinists might be tempted into a sentimental salon style and to try to exaggerate the technical difficulties. Philippe Koch, ably accompanied by Luc Devos, resists such temptations. I was impressed by the clean simplicity he brought to the pieces. This certainly helps to focus on the musical content. Some players could easily wreck the music with schmaltzy playing; I bet they do. These may not be Paganini-style display pieces but there are difficulties. For example, one of Vieuxtemps’ violin fingerprints is a sudden leap into the stratospheric heights above the stave to strike a note high up on the E string. Koch hits these with impeccable accuracy and no attempt to show off. --- John Leeman, musicweb-international.com

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01. Quartet No.2 in C major op.51 - I. Allegro assai    [0:06:43.22]
02. Quartet No.2 in C major op.51 - II. Andante    [0:10:13.33]
03. Quartet No.2 in C major op.51 - III. Scherzo    [0:07:31.67]
04. Quartet No.2 in C major op.51 - IV. Finale    [0:04:56.20]
05. Quartet No.3 in B flat major op.52 - I. Allegro con spirito    [0:09:24.73]
06. Quartet No.3 in B flat major op.52 - II. Intermezzo    [0:05:39.42]
07. Quartet No.3 in B flat major op.52 - III. Adagio non troppo    [0:11:12.40]
08. Quartet No.3 in B flat major op.52 - IV. Finale (allegro vivace)    [0:06:44.60]

Quatuor Maurice Raskin

Henri Vieuxtemps (1820-1881) was born in Verviers, Belgium. He received his first violin instruction from his father, subsequently studying with Charles de Bériot. He toured Europe for several decades and was regarded as one of the leading violinists of his time. Schumann compared Vieuxtemps to Paganini, and Paganini, himself, was extremely impressed when he heard Vieuxtemps at his London debut in 1834. Vieuxtemps also devoted himself to composition, having studied composition with Simon Sechter in Vienna, and Anton Reicha in Paris. His violin concertos are still in the repertoire. In addition to this, he became an important teacher, founding the violin school in St. Petersburg and teaching at the Brussels Conservatory, where Eugène Ysaÿe was among his many students. Although the bulk of Vieuxtemps' compositions were for the violin, he often turned to other instruments, writing two cello concertos, a viola sonata and three string quartets among other things. For many years, he toured as the leader of a string quartet, championing the quartets of Beethoven in particular.

String Quartet No.2 was not published during his lifetime but is thought to have been composed been composed during the 1870’s. It is a sunny work, full of good spirits. Classically structured, the melodies are romantic. The opening Allegro assai, seems inspired by early Beethoven. The lovely Andante which follows shows the same inspiration. Not at all surprising for someone who championed Beethoven's quartets throughout Europe. Next comes a lively Scherzo, full of bounce. A gorgeous trio sections provides a fine contrast. The finale, an Allegro, is full of verve and elan. It brings the work to a rousing conclusion which is sure to garner loud applause from any audience. --- editionsilvertrust.com

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Concerto No.4 op.31 for violin and orchestra

 I. Andante - Moderato - Cadenza
II  Adagio religioso 
III. Scherzo: Trio
IV. Finale marziale: Allegro

Concerto No.5 op.37 for violin and orchestra

I  Allegro non troppo
II Adagio
III Allegro con fuoco

Jascha Heifetz - violin
London Philharmonic Orchestra
John Barbirolli - conductor

The orchestral writing in this, Vieuxtemps' own favorite among his concertos, is sensitive and makes particularly good use of the woodwinds. But aside from the substantial introduction and various tutti passages, the violinist is clearly the center of attention. The first movement, Andante, begins with a lengthy, weighty introduction that opens like a quiet chorale and then gradually builds speed, loudness, and intensity, with brass and tympani providing extra heft. As all of this recedes, a downward-swirling figure in the strings suggests water flowing away into the murk. The soloist finally enters with a declamatory line, spitting out double-stop notes, but this almost immediately melts into more lyrical, yet still ardent material. This, with its recitative-like material, seems like a second introduction, but it is indeed the movement's main thematic substance. A lengthy, tempestuous cadenza eventually surrenders to a stern orchestral passage; this fades into a long-held horn note that serves as a bridge to the second movement. This Adagio religioso begins with a woodwind chorale; the violin soon enters, serenely trilling above the orchestra, and sings a long, ardent prayer that gradually builds to a state of ecstasy. As the music calms, harp arpeggios grace another passage of violin trills. Some contemporary listeners may find this movement's pretty pieties off-putting, but religious sentimentality was a major element of much Franco-Belgian music of the mid-nineteenth century, and this Vieuxtemps slow movement is an important example of the style. The Scherzo, marked Vivace, brings a welcome impishness to the concerto and has much in common with the vibrant, assertive violin works of Saint-Saëns. The movement's central trio section slows down and stretches out with grand, sweeping orchestral support for the violin's happily quivering line. Before the Finale marziale fully gets underway, the strings and woodwinds revisit material from the concerto's beginning. This time, the Andante introduction is succinct and the full orchestra soon presents a festive march, again resembling the style of Saint-Saëns. After a full tour around the parade ground, the soloist finally joins in, first with a recitative and then with the main march tune. Rapid passagework and harrowing double-stops prevent the movement from falling into pomposity; at one point, the violin plays an ardent, decidedly non-military melody. And later, the soloist even gives the march tune a remarkably lyrical treatment. Midway through this movement, the music kicks into the major mode and the concerto ends in heady victory. ---Rovi

Although the Violin Concerto No. 4 is "the" Vieuxtemps concerto, No. 5 in A minor is also relatively familiar and has been championed by the likes of Leopold Auer, Jascha Heifetz, and Itzhak Perlman. Vieuxtemps wrote it in 1858-1859 as a competition piece for Hubert Léonard at the Brussels Conservatory. The work originally held only two movements, but Vieuxtemps later added a third; they are played without interruption.

The first movement, Allegro non troppo, announces its main themes through the orchestra without soloist. The opening motif is suspenseful and tragic; soon the music becomes grander with the orchestra playing at full blast, and eventually the thematic material spreads out with longer note values, and subsides. The violin finally enters with rising, searching phrases, which quickly morph into complex passagework, a preview of coming attractions. Soon the soloist picks up the orchestra's themes, punctuating their lyricism with flurries of virtuosity. Vieuxtemps provided two cadenzas; one is fairly contrapuntal, and the other is full of double stops and other splashy techniques.

A brief Moderato passage leads to the Adagio movement, an effusion of A minor lyricism. Toward the end, the music modulates to C major to quote a melody from André Grétry's opera Lucile, here highly romanticized (hence the concerto's sometime nickname, "Grétry"). After the violin plays the final ornamented measure of this older material, the music swoops back into A minor for the concluding Allegro con fuoco, a final burst of virtuosity so brief that it is little more than a coda to the preceding two movements. ---Rovi

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Concerto No. 4 In D Minor 
1.  I. Andante – Cadenza	9:54
2.  II. Adagio religioso		6:53
3.  III. Scherzo (Vivace). Trio (Meno mosso) – Vivace da capo 	4:45
4.  IV.  Finale marciale (Andante – Allegro) 	8:23

Concerto No. 5 In A Minor 	20:47
5.  I.Allegro non troppo-Cadenza-Moderato II.Adagio III.Allegro co fuoco

Itzhak Perlman – violin
Orchestre De Paris
Daniel Barenboim – conductor

Perlman lavishes his customary care on these works and almost persuades us to add the name of Vieuxtemps to that supposedly elusive list of great Belgians. He knows better than most that only wholehearted and unembarrassed playing can disguise the relative thinness of some of the material. One listens in amazement to the technical wizardry he applies to the Scherzo of the D minor concerto. ---David Wilkins, classical-music.com

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Cello Concerto No. 1 in A minor, Op. 46
1 - I. Allegro Moderato-Cadenza-Allegro
2 - II. Andante
3 - III. Finale (Allegro)

Cello Concerto No. 2 in B minor, Op. 50 (Op. posth. 4)
4 - I. Allegro
5 - II. Adagio
6 - III. Finale (Allegretto Con Moto

Heinrich Schiff – cello
Stuttgart SWR Radio-Symphony Orchestra
Neville Marriner – conductor

This reissue in EMI's Encore line is, regrettably, one of its weakest offerings. Despite the presence of such luminaries as cellist Heinrich Schiff and conductor Sir Neville Marriner, the album is a disappointment for its fuzzy sound quality, lackluster orchestral palette, and Henri Vieuxtemps' tedious music. The boxy digital sound dates from 1985-1986, though it sounds as compressed and murky as any analog recording from the 1940s. Because of the severely limited range, the Stuttgart Radio Symphony Orchestra sounds flat and muddy. Yet this may be due as well to its old-fashioned, over-homogenized blending, and its pulling back to middling dynamics to give Schiff greater prominence. Of course, Vieuxtemps has a hand in it, too, and his thick, bottom-heavy orchestration puts the orchestra at a real disadvantage in the Cello Concerto No. 1 in A minor. However, this is mitigated somewhat in the Concerto No. 2 in B minor, since the orchestration is a bit more differentiated and not always scored tutti. Too bad, though, that the music itself is trite and uninspired. There are some diabolically clever moments in the solo parts of both concertos, which Schiff whips off with fiendish glee, but these are not enough to rate Vieuxtemps any higher than as a mediocre composer of shallow showpieces. ---Blair Sanderson, Rovi

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