For the first time in nine years, Janine Jansen releases a new concerto album, accompanied by Klaus Mäkelä and the orchestra that appointed him as chief conductor for the first time, the Oslo Philharmonic Orchestra.
The opening of the Sibelius concerto is remarkable, with the Oslo strings beginning in hushed tones while Jansen enters quietly. She quickly becomes more passionate and her full commitment inspires a comparable engagement from the orchestra, which offers a full interpretation of the melody at 2'50". Experience Jansen's masterful virtuosity in the "veloce" section, beginning at 1'55".
The difficult cadenza is performed brilliantly and the coloring of the woodwinds in this first movement (and indeed throughout the entire concerto) has a beautiful Nordic tint. Notice how the clarinets and oboes create an ambiguous melancholic atmosphere at the beginning of the second movement, which is then transformed by the lyrical passionate melody of the solo violin. There is a special intimacy in the interplay between orchestra and soloist, both here and throughout the entire performance.
The elegant, introverted atmosphere of the Adagio is deeply moving. Although the Oslo orchestra may not have the tonal power of more famous orchestras, their careful attention to Jansen's playing more than compensates.
Donald Tovey described the final movement as "Evidently a polonaise for polar bears," which suggests he found the music awkward – would he have said the same after hearing this performance? Playing full of eloquence and flair emphasizes the increasingly complex rhythmic interaction of the music, the almost perfect mix of fire and ice. Jansen's complete technical mastery is impressive, as is the exuberant and relentless liveliness of the music. A powerful coda crowns an extraordinarily characterful performance.
I have previously discussed two other recordings of Prokofiev's first violin concerto on these pages: Hilary Hahn on DG (technically perfect, but emotionally cool – review) and Tianwa Yang on Naxos, which proved much more emotional (review). Jansen is even better: her dynamic control and ease in exploring the capricious mood changes of the music are repeatedly impressive. And Mäkelä and his Oslo musicians stand by her every step of the way. Try the passage from 4'24" in the first movement: Prokofiev's development of the material is a kaleidoscope of ideas and moods, brilliantly captured here. The Paris premiere in 1923 left the audience unmoved, largely because they expected something more biting. But the music of this movement comes from the fairy-tale world of his Cinderella ballet, and the light, dreamy quality of this performance emphasizes that connection.
I was less convinced by the "Scherzo." The march-like passages should be more threatening and played more forcefully, the exuberant despair only emerges here and there. Jansen seems more attuned to this movement, but Mäkelä seems to concentrate on balance and refined colors as if he were painting with pastels while Jansen uses oil paint. (Those chords, beginning at 2'10", should certainly be more brutal.) Prokofiev's sarcastic humor finds better expression elsewhere.
The final movement recovers, perhaps because the music returns to the fairy-tale atmosphere of the first movement. The violin can sometimes seem almost secondary, providing commentary on the orchestral work rather than initiating it or fighting against it. This fits Jansen's interpretive personality: in concert you can see her interacting with orchestral soloists and sections, inviting them to make their own interpretation rather than just hers. I feel a similar connection between soloist and orchestra here. The harmonic shift to the coda is magical, the ending dreamy and peaceful.
Andrew Mellor's liner notes are informative and engaging. The booklet contains several photographs from the recording sessions. Fans of Jansen need no encouragement, but can rest assured: her playing is performed as musically and brilliantly as always. Decca's description of this collaboration as the 'ultimate classical dream team' is overstated, but it is undoubtedly impressive, and I would like to hear more from them.