In memory of Lars Vogt, the vibrant friendly tribute from Christian Tetzlaff and his sister Tanja October 31, 2023 by Jean Lacroix
Crescendo
October 31, 2023
by Jean Lacroix
Johannes Brahms (1833-1897): Double Concerto for violin, cello and orchestra in A minor op. 102. Giovanni Battista Viotti (1755-1824): Concerto for violin and orchestra in A minor no. 22. Antonín Dvořák (1841-1904): Waldesruhe for cello and orchestra op. 68 No. 5. Christian Tetzlaff, violin; Tanja Tetzlaff, cello; Deutsches Symphonie-Orchester Berlin, conducted by Paavo Järvi. 2022. Instructions in English and German. 60.43. Ondine ODE 1423-2.
Certain publications are called upon to escape the domain of pure musical criticism and the “game” of discographic comparisons because of their particular scope and their specific subject. This is the case of this album Ondine, a posthumous tribute to the very remarkable pianist and conductor Lars Vogt, who died of cancer on September 5, 2022, three days before his 52nd birthday. The violinist Christian Tetzlaff (°1966) and his sister Tanja (°1973) frequently played and recorded with him (Haydn, Mozart, Schubert, Schumann, Brahms…) and were close friends. Under the same label, we were able to discover, in the first half of 2023, a double Schubert album (Trios n° 1 and 2, Sonata Arpeggione, Rondo D. 895, Nocturne D. 897), recorded with Lars Vogt in Bremen in February and June 2021, whose overwhelming echoes were reminiscent of a swan song for the pianist. After the latter's death, the idea of a posthumous tribute germinated in the mind of another friend, the conductor Robin Ticciati, who maintained strong ties with him as well as with the Tetzlaffs. The Briton having fallen ill in turn, it was with Paavo Järvi, another close relative of the deceased, that the project was carried out, a little more than three months after the death of Lars Vogt, from December 21 to 23, 2022, in the Haus des Rundfunk Berlin. The result is a magnificent program, which wonderfully illustrates the notion of friendship which continues, whatever the circumstances.
The note consists of an interesting interview between Christian Tetzlaff and his sister Tanja with the musicologist and journalist Friederike Westerhaus. We discover the description of the emotional context which permeated the recording sessions, as well as the motivations for the choice of the program. Brahms' Double Concerto appeared to be an obligatory passage, not only because of Lars Vogt's love for the composer, as evidenced by many quality engravings, but also because friendship is inscribed in the work in such a significant way. The public premiere took place in Cologne on October 18, 1887, by Joseph Joachim and Robert Haussmann under the direction of Brahms himself. It was the fruit of a reconciliation between these two long-time friends: Joachim (1831-1907) and he had distanced themselves for a time during the divorce from the famous violinist, Brahms having defended the singer Amalie Schneeweiss, the wife of the latter. Here, the chamber option shines through in the orchestral beauties. The initial Allegro, with dark and painful accents, is rendered in a perfect dialogue between the soloists and is tinged with complaints, anguish and torment, but it always retains an element of luminous tenderness and melodic fluidity. The Andante is adorned with autumnal colors, in a balanced romantic climate, invaded by a very controlled modesty of feelings and a true lyrical song. The Vivace non troppo concludes this version with great impulses and broad rhythms which breathe life, undoubtedly to concretize the title of the interview in the note: A great treasure continues to remain in the heart. It is through an approach full of warm affection that Christian and Tanja Tetzlaff pay a joint tribute to their late friend.
The program continues with the Concerto for Violin and Orchestra No. 22 by Viotti, who composed twenty-eight others, this one being the most played. The entry refers to a well-known letter from Brahms to Clara Schumann, in which he states how much this page delights him, while adding that people generally neither understand nor respect the best things there are, namely concertos. of Mozart and that of Viotti. This Italian virtuoso, after having traveled extensively and given concerts, lived in Paris from 1782 and was in the service of Marie-Antoinette at Versailles, before returning to London in 1792, fleeing the Revolution. He returned to Paris again, serving as director of the Opera from 1819 to 1821 before returning definitively to the English capital, where he died. Brahms' Double Concerto bears the mark of his attraction to Viotti's Concerto No. 22: he chooses the same tonality, and uses thematic elements from it. This very beautiful score is served by Christian Tetzlaff with a generous and eloquent gesture, in a climate of overflowing vitality.
Tanja Tetzlaff ends the tribute with the fifth number of the cycle for piano four hands From the Bohemian Forest, composed by Dvorak in 1883, who made a transcription for cello and piano or orchestra. This Waldsruhe (Silent Woods in English, Peace in the Forest in French) lasts a little over five minutes and symbolizes in this case the friendship and reciprocal admiration which united the composer of the New World with Brahms. But beyond that, the cellist, who played with Lars Vogt several scores by the Czech, including the Dumky Trio, or, under his direction, the Cello Concerto, believes that this page, a jewel of pure pictorial poetry, timely concludes the project of this tribute and underlines the fact that the experience shared with the deceased was beautiful, but that life continues, with a great common heritage that persists deep in the heart.
This very beautiful album benefits from the emotional investment of the music stands of the Deutsches Symphonie-Orchester Berlin, who share the commitment of the soloists and that of the other friend of the deceased, Paavo Järvi. This ensures frank and generous leadership, commensurate with the circumstances.
Sound: 9 Record: 10 Repertoire: 10 Interpretation: 10
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