PREVIN / BERNSTEIN: VL CTO,SRD

Previn’s violin concerto is the first piece of third-millennium music (premiered in 2002) in my collection. It was written to a commission from the Boston Symphony Orchestra, although it appears to have been at least partly Previn’s own decision what type of piece would fulfil the commission, which seems remarkably democratic to me. The work is in the standard 3-movement classical concerto form, with the last movement a set of variations as in at least two Mozart concertos that I can think of. It is either all about love or partly about love and partly about friendships and relationships, but once again I don’t feel confident about reading too much of the composer’s autobiographical detail into the musical notes. Music, except when explicitly representational, is just music in the end, however strong and specific the external emotion that gave rise to it. This concerto is dedicated to Anne-Sophie Mutter, who is now, I gather, married to the composer. That is some sort of beacon to me as I follow my way through the piece, but in the last resort neither I nor anyone else except the composer himself can really understand what personal emotions inform this or that aspect of the music. It has to be intelligible as if we knew nothing about its origins, and from that point of view it comes over to me as a fairly middle-of-the-road piece of contemporary classical music. Some passages are strongly tonal in the traditional sense, but it slips in and out of strict tonality, in a way that has become fairly familiar. There is a good deal of lyricism, and obviously heartfelt lyricism too, but the work is more ‘modern’ than the violin concerto of, say, Khachaturian and probably even than most of Prokofiev, and it is interesting to recall that the beautiful but ultra-conservative violin concerto of Somervell was written in Previn’s own lifetime. One recent development in musical taste and fashion that is becoming too obvious not to notice is a decided reaction, not only among musical journalists but in the ranks of the leading performers too, against the more cacophonously intellectual music of the 20th century. How recently this trend started, how strong it really is, how Previn felt about it at the time of writing this piece, and what his thoughts about the matter may be now are all things unknown to me. I must say he looks in extremely good shape for his age, so I hope we may be hearing more from him that may help resolve some of these issues.

The playing of Anne-Sophie Mutter is rightly regarded as outstanding even in what is a great age of instrumentalists. If I say it has everything that will put less strain on your patience than if I enumerated a standard list of terms of approbation. In terms of authenticity, this account of the Previn concerto is literally unsurpassable, even the orchestra being the very body who commissioned the work in the first place. As interpreters of Bernstein they seem first-rate to me as well. This will surprise nobody who knows Previn’s background not only as an eminent classical conductor but prior to that as a jazz pianist, nor will it astonish anyone already familiar with the outstanding gifts of the soloist. The recording is admirable, as one would expect again by this date, and the liner-note is informative. The disc is presented in DG’s new arrangement of cardboard casing with a fold-over front section, but they have improved this now so as to make the liner easier to take out and put back in. As for Mr Previn’s new concerto, I would not take it on myself to offer an assessment so early in its life, even if I felt more sure what I actually think of it anyway.