The comment that this is a most interesting discovery could apply both to the CD, which features Rachel Barton Pine, one of America's most up-and-coming violinists, and the Clement violin concerto that it contains.
Featuring Franz Clement's Violin Concerto in D Major (1805) and Beethoven's Violin Concerto in D Major, Op.61 (1806), both played by the Royal Philharmonic Orchestra under Jose Serebrier, the excitement derives from hearing a violin concerto that provides an unsuspected context for Beethoven's own, hitherto seen as standing in isolation from other contemporary compositions. Following two centuries of obscurity, the concerto of Clement, one of the most prolific violinists of his day, was rediscovered and published by Professor Clive Brown in 2005.
And hearing the two pieces together reveals that, whilst Clement's concerto is harmonically grounded in the world of Mozart, many elements make it the direct predecessor of Beethoven's. As Brown argues, it "shows a degree of imagination, seriousness of purpose, and flair that is worthy of many a better known composer". The piece is brought out by a superb performance from American soloist, Rachel Barton Pine, who has a fine set of recordings to her name, and deserves to be better known on this side of the water.
The Allegro maestoso of Clement's concerto possesses a march-like opening, subsequently tempered with flowing strings that gradually become more dramatic. The violin solo then adopts a variation on the main theme, with Pine excelling in producing some exquisite quick light notes, which when they ascend the scale feel like they are disappearing into infinity. In the Adagio, which has a darker, more foreboding, feel, the soloist takes a more dominant role, allowing Pine to demonstrate some wonderfully eerie playing, which she does with appropriate precision and no sense of excessive bravado.
Interestingly, to the modern ear, the final Rondo: Allegro sounds as if it should appear halfway through the first movement, so that structurally the concerto feels as if it consists less of three progressive movements, and more of a first movement, a second movement, and then another first movement! This, however, is only because we have been conditioned by hearing Beethoven and all that followed. At the time it was written, Clement's work would not have felt as 'unstructured', and was frequently received more positively than Beethoven's own.
Hearing the Beethoven concerto played with the same orchestra and soloist makes identifying the comparisons between the pieces easy, although the strength of playing sees it stand as a superb performance in its own right. But, following the revelation of the Clement, hearing such a well known piece almost feels boring! Clement's Violin Concerto in D Major is the reason for wanting to own this recording – and it's reason enough.
The recording is accompanied by a booklet outlining the relationship between Beethoven and Clement, the history of the two concertos, and the rediscovery of Clement's masterpiece. They strike a welcome balance between providing academically strong notes, and heart warming personal stories concerning the rediscovery.
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