Sibelius: Violin Concerto in D minor (Part II)

Jean Sibelius banned the performance of the 1903/4 version of violin concerto, and since the premiere by Viktor Novacek was not recorded, we are not able to distinguish between the older version and newer version. But rather excitingly, we are delighted by the appearance of a recording of the original version of the violin concerto. This recording was only possible through the permission of the Sibelius family, and we should be sincerely grateful to them for allowing it to be performed. The soloist is Leonidas Kavakos with the Lahti Symphony Orchestra conducted by Osmo Vanska (BIS Records). This provides us for comparison between both versions of the violin concerto, and we shall discuss the marked differences between these versions. The original version referred here is of course from the one and only recording by Leonidas Kavakos. The timing mentioned is based on this recording too.

The original version is around 4.5 minutes longer than the final version. In the first movement, allegro moderato of the original version, there are more virtuosic passages decorating the entire movement. As early as [2'09''] where the first solo begins, there is a galloping bass accompaniment, which is slightly different from the final version. Also before the first cadenza [6'36''], there are additional touches that make the whole movement darker when compared to the final version. The first cadenza lasts for a whooping 4'41''. After this, there is what known as 'muscular passage' that is of intense lyrical beauty intertwined with ardent patriotism, predisposes to the second movement. At [14'01''], begins a part noted as 'Mendelssohnian interlude'. But personally I think we should not compare Sibelius with any other composer, for he is as original as ever in this particular passage. 'Mendelssohn's' shadow is there, but Sibelius's concrete figure is even more distinct. After the interlude at [15'12''], the soloist starts off with the second cadenza. Surprisingly, the passage is highly Bachian. If this part is played solo in any stage, many would think that it is one of the darker partitas of JS Bach, say the Second Partita in D minor (it is even in the same key as this violin concerto!). This whole cadenza is entirely removed in the final version. In addition, because of this cadenza which is majestic yet sombre, the whole movement seemed to be 'darker' in tone. Then, the movement ends with dramatic intensity.

Now we come to the heart of the entire concerto. The original slow movement, Adagio di molto is the least changed. It begins with woodwinds playing in thirds, then the violin comes in, introducing the main theme and developing the theme playing on higher and higher notes. Amist the ascending notes, the background horn and bassoon provide a melancholic ambience. This movement is the most intense and sincere music I have ever heard, with full vibrato and firm ascent, the violin literally becomes like an opera singer. As the movement develops, it gets more and more intense, till reaching an intensity only to be compared sexually. This powerful movement reaches climax at the middle (around 6'20'') and then gradually soothes down. The violin and orchestra begin another cycle till [8'00'] where the movement finally 'sighs' to the end. What is of extreme surprise here is a tiny cadenza right at the end [9'18''], a passage of simple rising and descending arpeggios. This comes as if from nowhere, disturbingly abrupt and confusing. I am sure listeners will be either impressed or disillusioned of the composer's motive. This entire cadenza is omitted in the final version.

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