Maxim Rysanov, Swedish Chamber Orchestra, Muhai Tang - Franz Schubert, P.I. Tchaikovsky, Max Bruch (2011)

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Maxim Rysanov, Swedish Chamber Orchestra, Muhai Tang - Franz Schubert, P.I. Tchaikovsky, Max Bruch (2011)

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Much like its larger cousin the double bass, the viola has long struggled to establish itself as a solo instrument. While in the 20th and 21st centuries, many composers have come to bestow rightful respect upon the instrument with numerous solo, chamber, and concerto compositions, the same did not hold earlier in the instrument's history. To fill the gap, violists have necessarily taken to arranging and transcribing. The question of worthiness then turns to individual listeners. This BIS disc opens with an arrangement of Schubert's Arpeggione Sonata for viola and string orchestra. In this instance, the curiosity lies not so much with the use of the viola – which has much in common with the bygone arpeggione – but the choice of string orchestra. Despite the quality of the transcription, much of the intimacy inherent in an instrumental duo seems to be lost here. Violist Maxim Rysanov's playing is technically polished, with a clean, warm sound. His interpretation leans decidedly toward the heavily romanticized but does not cross the line into distasteful. Second up is Rysanov's own transcription of Tchaikovsky's Rococo Variations. Here, the orchestral part remains untouched, and only changes to the register are made in the solo part. Some of the octave changes are a bit jarring, and sometimes send the viola high onto the A-string where its tone is somewhat less rich. The disc concludes with the only original work for viola, Max Bruch's Romance in F major. Not surprisingly, the viola sounds its most natural and comfortable in this work, playing to its strengths of tone and character.

Review by Mike D. Brownell, Allmusic.com

At first glance Schubert’s Arpeggione Sonata seems a most unlikely candidate for transformation into a fully-fledged viola concerto. A closer look at the score suggests otherwise, particularly as the piano plays a rather subsidiary role in the musical argument. Indeed there is some historical precedence for Dobrinka Tabakova’s resourceful arrangement in the present release since Gaspar Cassadó adapted the same work for cello and full orchestra in 1930. Yet whereas the Cassadó sounds somewhat bloated, Tabakova’s adaptation for string orchestra seems more closely attuned to the intimate spirit of the original. Certainly Maxim Rysanov makes the best possible case for hearing this version, delivering a wonderfully poetic account of the solo part with subtle and sensitive accompaniment from the Swedish Chamber Orchestra.

Viola players often bemoan the lack of substantial concerto repertoire from the 19th century so one can understand Rysanov’s decision to ‘borrow’ Tchaikovsky’s Rococo Variations. Apart from a few tweaks in tessitura, the original solo part remains exactly the same and Rysanov’s dazzling performance makes us believe that the work was tailor-made for his instrument.

With the Bruch Romance we come to music that was genuinely conceived for viola and orchestra, and here Rysanov convincingly sustains the lyrical impulse in the writing. Despite its short measure this beautifully recorded release deserves a strong recommendation.

Review by Erik Levi, BBC Music Magazine

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Maxim Rysanov, Swedish Chamber Orchestra, Muhai Tang - Franz Schubert, P.I. Tchaikovsky, Max Bruch (2011)

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