Dmitry Smirnov (violin)
J.S. Bach Partita no.2 in D minor BWV1004 (c1720)
Bartók Sonata, BB124 (1944)
Schneeberger Sonata (1942)
First Hand Records FHR117 [61’45”]
Producer / Engineer Jean-Daniel Noir
Recorded 8-10 February 2021 at ‘Il Poggio’, Montecastelli Pisano, Italy
Written by Richard Whitehouse
What’s the story?
The violinist Dmitri Smirnov makes his debut for First Hand Records with this release of unaccompanied works from Bach and Bartók, together with a first commercial recording for the wartime sonata by Schneeberger in what proves an astute and instructive coupling.
What’s the music like?
The Solo Violin Sonata by Bartók is the pre-eminent work of its kind in the twentieth century – Smirnov setting out his credentials in a forthright though never over-wrought account of its initial Tempo di ciaccona, followed by a tensile reading of the Fuga which still admits a bracing humour into its methodical construction. The Melodia is the emotional core of this work, and here Smirnov avails himself of a wide variety of timbre in its heartfelt unfolding, then the Presto makes for a coruscating finale that ultimately heads to its decisive ending.
Its famous finale can easily dwarf the initial four movements of Bach’s Second Solo Partita, but Smirnov is mindful to accord due emphasis to this succession of capricious Allemande, trenchant Courante, eloquent Sarabande then cavorting Gigue, whose jazzy syncopation provides a telling foil for what follows. Attacca in this instance – Smirnov heading directly into the Chaconne which here eschews rhetorical grandeur for an impulsive traversal of its motivically close-knit variations, sustained through to an unexpectedly taciturn conclusion.
Interest understandably focusses on a Solo Sonata by Swiss violinist Hansheinz Schneeberger (1926-2019), with whom Smirnov was personally acquainted. The present work is structured in three compact movements: a powerfully sustained Adagio – entitled Introduzione (quasi cadenza) – followed by an alternately humorous and suave Allegro, then a closing Allegro which is barely half the length of its predecessors, while compensating for any formal short-windedness with an unflagging energy which is maintained right through to its final cadence.
Does it all work?
Yes, whether in terms of a collection whose constituents can be enjoyed separately or as a straight-through recital. There are many other recordings of both the Bach and Bartók, but Smirnov brings his own interpretative approach to bear on each work while, at least for the present, has the field to himself in the Schneeberger. The repertoire for solo violin is wider than supposed, and Smirnov will hopefully continue with its exploration – maybe tackling one of those sonatas by Mieczysław Weinberg, Benjamin Frankel, or Bernard van Dieren.
Is it recommended?
Indeed. The focussed while never constricted sound provides an ideal ambience for Smirnov, whose playing is complemented by his informative annotations. Both CD and booklet cover feature one of Scheeberger’s paintings, The Forest, dating from two years before his Sonata.
Listen & Buy
You can get more information on the disc at the First Hand website.