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Ernest Bloch - Works for Violin and Orchestra - Zina Schiff, RSNO, Serebrier (2007) [FLAC] (Naxos 8 557757)

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Music : Classical : Lossless
         
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250,          'width' : 300,          'params' : {}      };      document.write('');              A precocious violin
talent, Bloch left home at the age of seventeen to study with the illustrious Belgian violinist and composer, Eugene
Ysaye, who recognised his pupil's extraordinary creative potential and persuaded him to pursue composition.
Bloch's Violin Concerto, an underrated rarity, is one of his most important works of the 1930s. Although Bloch
attributed the major themes in the Concerto to American Indian songs heard on a visit to New Mexico, he also described
the work as portraying 'the complex, glowing, agitated soul that I feel vibrating through the Bible'. The
Suite hibraïque, which draws on traditional melodies to evoke a sense of nostalgia, and the exotic tryptich Baal Shem
(Three Pictures of Chassidic Life), are indelibly associated with Bloch's 'Jewish works'.

ERNEST BLOCH (1880-1959)
Works for Violin and Orchestra

 

Classics Today
[11/29/2007]:
Artistic Quality: 10 / Sound Quality: 10
Quote:This is a wonderful disc. Zina Schiff plays
this music with exceptional passion and commitment, which is really what Bloch is all about. Her tempos in the outer
movements of the concerto are a touch more relaxed than the competition, particularly the classic Szigeti/Mengelberg,
but the performance has greater excitement than the (limited) modern recorded versions, not just because of the fine
sound, but because Schiff really digs into the music and phrases with both spontaneity and unusual communicative depth.
When the melodies have such strong character even the long first movement, which admittedly has a tendency to sprawl in
less committed hands, sounds amazingly cogent. It’s clear that Schiff really knows the music and has no
inhibitions when it comes to delivering the emotional goods. This is such a lovely work–it’s amazing that
it gets played so infrequently.
In the shorter pieces Schiff is just as splendid. The final movement
(“Rejoicing”) of Baal Shem lives up to its title as in few other performances, while the Suite
Hébraïque’s opening Rapsodie is hypnotically intense. José Serebrier and the Royal Scottish National
Orchestra provide ideally balanced, colorful accompaniments, and the engineering, as usual from this source, is
terrific. If you’re looking for an inexpensive single disc containing all of Bloch’s major works for
violin and orchestra, let this release be your choice. I wonder if Schiff also plays the viola? I’d love to hear
these forces in Bloch’s spectacular Viola Suite. --David Hurwitz

Violin Concerto (1938)
1.
I. Allegro deciso (20:09)
2. II. Andante (6:11)
3. III. Deciso (12:00)
Baal Shem (Three Pictures of
Chassidic Life) for Violin Solo and Orchestra (1923)
4. I. Vidui (Contrition) (3:15)
5. II. Nigun
(Improvisation) (6:27)
6. III. Simchat Torah (Rejoicing) (4:53)
Suite Hébraïque for Violin Solo and
Orchestra (1952)
7. I. Rapsodie (6:40)
8. II. Processional: Andante con moto (2:30)
9. III.
Affirmation: Maestoso (3:56)
Playing Time: 66:01

Zina Schiff, violin
Royal Scottish National
Orchestra
José Serebrier

In memory of H.B. Markin
Recorded at Henry Wood Hall, Glasgow, from
28th to 30th March, 2006
Producer: Tim Oldham
Engineer: Phil Rowlands
Assistant engineer: James Walsh
© 2007 Naxos Rights International Ltd.
8.557757

Ernest Bloch (1880-1959)
Violin Concerto
• Baal Shem • Suite Hébraïque
Quote:It is not surprising that Ernest Bloch probed the unique
expressive capability and tonal palette of the violin. Born on 24th July, 1880, in Switzerland, the son of a clock
merchant in Geneva, Bloch exhibited a precocious violin talent. By the time he was seventeen, he left home to study with
the illustrious Belgian violinist and composer, Eugene Ysaye. Although impressed by Bloch's instrumental
virtuosity, Ysaye recognised his pupil's extraordinary creative potential and persuaded him to pursue composition.
Bloch continued his studies in Germany, but with no obvious prospects for a musical career he reluctantly returned to
Switzerland, becoming a book-keeper and clerk in his family's shop. His musical drive did not, however, disappear.
In the evenings he quietly and persistently amassed a portfolio of compositions, including an opera, Macbeth. To his
amazement, Macbeth was accepted for premiere at the Opera Comique in Paris on 30th October, 1910.
Despite mixed
reviews, a leading critic, Romain Rolland, was so impressed that he travelled to Geneva to meet the young composer. When
he found him in the clock shop, the shocked Rolland advised Bloch to concentrate exclusively on his music. He wrote to
Bloch, "Do not let yourself be turned aside or led astray from yourself by anything... Continue expressing yourself
in the same way, freely and fully; I will answer for your becoming one of the masters of our time."
In 1916
Bloch arrived in the United States as conductor of the Maud Allen Troupe. When the tour ended in bankruptcy, he was
stranded. This apparent disaster turned into triumph when several key musicians — Karl Muck in Boston, Arthur
Bodanzsky in New York, and Leopold Stokowski in Philadelphia — championed his music. Three years later, as
recipient of the Elizabeth Sprague Coolidge Prize, Bloch became a respected name in his adopted country, accepting an
appointment as Director of the Cleveland Institute of Music, where he served from 1920 to 1925. Next came directorships
at the San Francisco Conservatory and the University of California at Berkeley. In 1927 Temple Emanu-El of San Francisco
commissioned his Sacred Service. This resulted in increased patronage, which, by 1931, permitted Bloch to give up
teaching and completely devote his attention to composition. He moved to Agate Beach, Oregon, where he lived until his
death on 15th July, 1959.
Bloch's exquisite Violin Concerto and Suites portray, in the composer's own
words, "...the complex, glowing, agitated soul that I feel vibrating through the Bible...the freshness and naivety
of the Patriarchs, the violence of the prophetic Books; the Jew's savage love of justice; the despair of
Ecclesiastes; the sorrow and the immensity of the Book of Job; the sensuality of the Song of Songs...it is all this that
I endeavour to hear in myself, and to translate in my music."
Besides the Sacred Service, Bloch's most
important work during the 1930s was his Violin Concerto. Gradually conceived between 1930 and 1937, he completed it in
January 1938 while in Switzerland at Châel Haute Savoie. Although he had not touched his violin in over thirty years,
he began practising again in order to test his ideas and experience the physicality of his writing. Decades earlier,
while conducting the orchestra of the City of Lausanne, he had hired as soloist Joseph Szigeti, a teenage Hungarian
violin sensation. Inspired by Szigeti, Bloch dedicated the concerto to his life-long friend.
Although Bloch
attributed the major themes in the concerto to American Indian songs heard on a visit to New Mexico, the major motifs
unquestionably evoke cantonal chants of the Bible. Stripping away the grace notes in the opening violin statement, one
is left with the same interval (fifth) as in the beginning of both the Vidui and Simchat Torah in Baal Shem. This is
also a traditional interval for blowing the shofar, the ram's horn, on the High Holy Days of Rosh Hashanah and Yom
Kippur. Throughout the concerto, fragments of Bloch's Sacred Service abound, and one can imagine King David,
himself, plucking the harp in the tender moments after the cadenza, before the tumultuous race to the end of the first
movement. The second movement, with segments requiring a muted solo violin, creates an enchanted, mystical spell, while
the third expands and reworks the concerto's opening theme with a pyrotechnical display that persists until the
final passionate statement. When Szigeti performed the premiere in Cleveland on 15th December, 1938, with Dimitri
Mitropoulos conducting, Arthur Berger, of the New York Herald Tribune, exclaimed, "...There is scarcely a work in
the whole category of art music in which Jewish associations are stronger."
Inscribed To the memory of my
mother, Bloch's Baal Shem was written in 1923, while he was Director of the Cleveland Institute. He wrote it for
his Swiss friend, André de Ribaupierre, who was on the violin faculty at the Institute. The title refers to the
founder of Chasidism, Rabbi Israel ben Eliezer, known as the "Baal Shem Tov" — miracle worker or,
literally, "master of the good Name [of God]". A charismatic visionary who lived during the time of Bach, the
Baal Shem believed, like Bach, in a spiritual connection and service to God through song and dance.
Vidui refers to
the Jewish confessional prayer recited on one's deathbed. The traditional text acknowledges God as the ultimate
Healer, asks forgiveness for all transgressions, and requests a place in the Garden of Eden and the Messianic Age
reserved for the righteous. The Vidui is also a set of communal confessional prayers constituting the core of the
service on Yom Kippur, the holiest day in the Jewish year.
Nigun means "melody". According to Kabbalah,
the Jewish mysticism on which Chasidic religious fervour is based, a melody can elevate a person to a transcendent
level, reaching spheres of hidden knowledge. Singing, especially songs for the Sabbath, is an integral aspect of
Chasidic worship.
Simchat Torah (Rejoicing in the Law) refers to the celebration at the end of Sukkot, the
week-long Jewish thanksgiving holiday period. Amidst dancing and song, the Torah scrolls are carried in joyous
procession around the synagogue. The last verses of Deuteronomy are recited, immediately followed by the opening verses
of Genesis, signaling the beginning of a new, unending cycle of Torah study.
The final letter of Deuteronomy,
linked together with the first letter of Genesis, forms the Hebrew word lee, meaning heart, most appropriate since the
Torah is a symbol of love of both God and humanity. Bloch's "Jewish Valentine" to his mother incorporates
a famous Chasidic wedding dance, the mezinka. This tune is also found in Dmitri Shostakovich's first violin
concerto (1958), composed for his Jewish friend, David Oistrakh.
Bloch celebrated his seventieth birthday belatedly
in December 1950 with a week-long musical tribute in Chicago. Spearheaded by composer Ezra Laderman's uncle, Sam,
an ardent admirer of Bloch, the festival featured concerts throughout the city. These included performances with the
Chicago Symphony Orchestra, Rafael Kubelik conducting, and culminated with a gala dinner hosted by the Covenant Club, a
festival sponsor. Visibly touched by the event, Bloch promised a small token of his appreciation. Several months later,
the Suite Hébraïque arrived to the 1200-member Covenant Club, which was founded in 1917 for Eastern European Jews.
Originally composed for viola, Bloch later adapted the Suite for violin.
Suite Hébraïque glows with the
artistic maturity of the composer. The Rhapsody exudes Bloch's passionate improvisational voice, while the
Processional presents a vision of the ancient priests majestically ascending to the Holy Temple in Jerusalem. In
Affirmation, Bloch captures the post-Holocaust miracle of the newly reborn State of Israel, affirming the eternal spirit
of the Jewish people. The suite concludes with an emotional final statement that is reminiscent of the closing bars of
his Violin Concerto.
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