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Warmly recommended

MusicWeb International, Stephen Barber

The veteran Latvian composer Pēteris Vasks is well represented on recordings and his violin concerto Tālā GaismaDistant Light in English, has been recorded at least half a dozen times. It was written for Gidon Kremer and his youth orchestra Kremerata Baltica in 1996. The soloist here, Daniel Rowland, writes in the interesting sleevenote that it was the first work of Vasks that he heard and was very pleased when the composer agreed to join him in his Stiftfestival in the Netherlands in August 2019. They worked together on a number of his pieces and ended with a concert whose live recording appears here.

Distant Light is in eight sections which play continuously. The solo violin is accompanied by a small string orchestra. It begins very quietly at a high pitch on the solo violin which leads to a long, winding lyrical line with a shimmering accompaniment. There is then the first of three cadenzas which become progressively more virtuosic. The next section begins in the low bass with the violin also in its low register. There follows a faster section, then the second cadenza and then a burst of energy in a dance. An anguished passage has some dissonant noises and the final cadenza before the conclusion returns to the mood of the opening. The idiom is not very different from that of the Estonian Arvo Pärt and I was also reminded of John Tavener’s violin concerto Lalishri. The violin writing is occasionally reminiscent of Brahms, whose concerto perhaps Vasks looked at before writing his own; it is, of course, none the worse for that. It seems to me clearly a masterpiece, with a balance maintained between the serene atmosphere and more challenging material.

The other works here are also fine but less complex in their moods. Lonely Angel is also described as a violin concerto and was also written for Kremer, but it is a simpler, shorter work in one movement; compare Chausson’s Poème for example. The composer wrote about it: ‘I saw an angel, flying over the world; the angel looks at the world’s condition with grieving eyes, but an almost imperceptible, loving touch of the angel’s wings brings comfort and healing. This piece is my music after the pain.’ It is almost entirely in the meditative, ecstatic tone which is only part of the idiom of Distant Light.

Plainscapes is a choral work accompanied simply by violin and cello. There are no words. Vasks explained that it was nature music, inspired by his native Latvia, which is flat and where one can see the horizon and the stars in the sky. At the climax there is what sounds like actual birdsong.

Dona nobis pacem is for mixed choir and string orchestra. It does not, as one might expect, set the whole of the Agnus Dei, from which that phrase comes, but only those three words, repeated again and again in waves of sound which build up and then break off suddenly at the climax. (Vaughan Williams’s work of the same name, on the other hand, is much longer and sets a number of texts.)

The performances here seem very fine, and the involvement of Vasks himself ensures their authenticity. In Distant Light Daniel Rowland dispenses with a conductor and leads the orchestra himself. Thomas Carroll and Benjamin Goodson do the honours in the other works. The recording is warm and glowing; this is a live recording but no applause is included. There are other recordings of all the works here but not in this combination. Warmly recommended.

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Beautiful as a diamond, incandescent as the radiant beams of the sun and poetic as the night of the full moon

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“among this year’s highlights were organist Wolfgang Abendroth’s seven-part arrangement of Alban Berg’s violin concerto, all the more effective for its intimacy, with Daniel Rowland giving a lyrically intelligent account of the solo part; and a surreal but startlingly plausible version of Shostakovich’s 15th symphony for violin, cello, piano and three percussionists.”

His tone was silky smooth and sweet as honey

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” How did he maintain such an incandescent level of tension throughout a piece as long and as involved as the Franck sonata and how many musical volts were coursing through that bow? His tone was silky smooth and sweet as honey and he seemed to be in another world, eyes closed and breathing in the very soul of the music. ” 

With his magnetic music-making he transfixed this listener

Beeld, Thijs Odendaal

Korngold’s concerto is surely one of the most “lirico dramatico” in the violin repertoire; fiendishly difficult and brilliantly composed with expansive and colourful orchestral writing.

Put the thought-provoking and always engaging violinist Daniel Rowland on the stage with an orchestra even more refined than two nights previously under Raiskin’s guidance, and you get a very special musical experience.

And so it was. Rowland enlightened every lyrical, harmonic and melodic aspect of the work, as well as the fascinating diverse constructions of the solo and orchestral writings during the performance. With his magnetic music-making he transfixed this listener, resulting in an experience that lingered in the mind long after the concert. It is, undoubtedly, an evening that will be remembered for many moons to come.

Backed up by an astonishing technical ability

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“Stylish, tasteful and impeccable – but this was so much more: here was deep musical understanding that ranged from tender intimacy to the greatest excitement, always backed up by an astonishing technical ability.”

The force of his magical imagination

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” The success and conviction and of the Seasons lay with Rowland. He handles the violin as an extra, but ‘integral’ limb. He creeps round the stage as an enfant terrible, dragging you and the ensemble along with the force of his magical imagination. His sound, even without vibrato, is rich and sweet as honey, his interpretation full of mood-swings and he doesn’t fear to let his violin scratch and groan.”

Faultless intonation and highest musicality

Badisches Tagesblat, Baden-Baden
” All beauties of violin playing were in evidence in this Brahms Concerto: calm bow arm, needless to say faultless intonation and highest musicality. As all of it was as in one breath with the orchestra, we witnessed a masterful performance. The stormy applause said it all.. “

It is a charisma that's hard to put into words

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” With a great sense of lyricism Daniel Rowland plays these gorgeous sonatas. His whole body plays the violin, not through exaggerated movements – it is a charisma that’s hard to put into words. “

A bewitching quality that few musicians possess

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“… Rowland’s spur-of-the-moment, light-on-the-bow inspiration, whereby the music vanished in the very act of articulation – a bewitching quality that few musicians possess “

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“It was not just the technical brilliance of his playing or the astonishing richness of his tone that gave his performance its unique stamp of quality. He radiated a single-minded intensity that made him seem totally at one with the music.”

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” What an exceptionally fine soloist and leader this British/Dutch violinist is! We haven’t had such an emotive, but also totally and truly a charismatic guest in a very long time.. .the emotions, smouldering passions, the melancholy: Rowland transported us with daring and severity into the composers soul”

Ravishing in its finesse

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” glorious playing…ravishing in its finesse.”

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” Daniel Rowland’s performance of the second quartet’s searingly intensive recitativo, supported by hushed humming and rich chords, was the evenings tour de force.”

The airy energy of the Vivaldi to the the lush, sultry Piazzolla material

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A suitable frenzy of heat and colour

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This disc succeeds because it goes to great lengths to bring out the many characters of the music, always in interesting and unexpected ways

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Back To Top 04/03/2021