Violin Faces II

Violin Faces II
There he stands, front and centre: the hero. A thousand warriors behind him provide support as he, unafraid, leads the charge into battle. He comes through the most dangerous moments with visible ease; there is even time for a few moments of refl ection. After long and valorous strife he gives the coup de grâce, for he is always the victor. His weapon? Neither sword nor revolver, but a violin and music. A battle is a common metaphor for a Romantic violin concerto: a combat with the instrument, a test of self-control, a duel between soloist and orchestra, a heroic eff ort that is reserved for only the greatest of musicians. Matters are no diff erent in the three works recorded here, even if the content of these concertos reveals the word’s derivation from the Italian concertare (to attune to others) rather than the Latin concertare (to discuss). Although the violin stands front and centre and displays great virtuosity and expression, its connection with the instrumental ensemble is nonetheless crucial in each of these three works.