• The Russian-British violinist Alina Ibragimova, versatile, virtuosic and astute in every kind of repertoire (listen to her play Bach), has established an ideal partnership with the State Academic Symphony Orchestra of Russia “Evgeny Svetlanov” and the conductor Vladimir Jurowski. In musical perception and integrity to the score, you couldn’t find a better match. Their Shostakovich Violin Concertos (Hyperion) capture every twist and subtlety, as well as letting rip in the angry outbursts.
Shostakovich referred to his Violin Concerto No 1 in A minor, begun in 1947 in the aftermath of the second world war but not premiered until 1955, as a symphony for violin and orchestra. What did he mean? The four movements, one more than usual, have a restless ambition and grandeur. The moods of each don’t correspond to any concerto norm. Opening with a slow, painfully melancholic Nocturne, the work plunges into reflection where we might expect display. A crazed, sardonic Scherzo follows, then a sombre Passacaglia leading to a vast solo cadenza. The finale is a dark “Burlesque”, a breathless, screeching car chase between soloist and orchestra.
Shostakovich’s Violin Concerto No 2 (1967), shorter and more regular in shape, pivots around a prolonged, introverted and emotional slow movement: hush and concentration are of the essence. Never easy listening, but who expects that of this composer, or these performers, who give their brilliant best.
• A few of Haydn’s 68 string quartets have nicknames – Lark, Sunrise, Emperor – but the best way to negotiate them is to familiarise yourself with the various sets of six he issued throughout his lifetime. A good place to start is the pivotal Opus 20, and specifically No 4 in D major, aptly described in the Dudok Quartet Amsterdam’s CD liner notes of their Op 20 Volume 2 (Resonus), as one of music’s Big Bang moments.
Haydn revealed the possibilities of this medium, liberating the four voices – two violins, viola and cello – to speak independently, with equal weight and bubbling, sparring repartee. The Dudoks, now recognised as one of the most stylish, open-minded and adventurous among younger ensembles, bring heady energy to all three quartets included here – Nos 1, 4 and 6 – completing the set.
• This would have been the opening weekend of this year’s (cancelled) Aldeburgh festival. Made in 2013 for the composer’s centenary, Britten on Camera (BBC iPlayer) presents archive material from his broadcast legacy, with contributions from David Attenborough, Nicholas Kenyon, Michael Crawford and others who knew him.
