CHAPTER 3. COMPARISON AND EXPERIMENTS
In the research process, we find the practical and creative parts of the work.
Initially, I had the option to review all the studio recordings made of the Concerto, from the earliest to the most recent. However, my personal wish was the analysis of the first two recordings, which are the closest and the most faithful to the composer's original idea and both were conducted by him. Taking this comparison into consideration, I will decide which details I will recover for my own interpretation. In addition, it will be an analysis based on sound, by listening to the recordings and experimenting with them, instead of a purely score-based comparison. In this way, we can pick up auditory details and expressive resources that would be impossible to perceive by comparing just the score.
3.1 Collecting ideas
3.1.1. Listening to recordings
By listening to, analyzing, and comparing these old versions, different models and influences are observed, which are necessary as a reference to create my own musical interpretation. After listening to the two early recordings, I collected really interesting and different information about them. The first noticeable difference I found is regarding to tempo, especially in the second movement. These tempo differences are already reflected in both orchestral printed versions parts of the Concerto, published by Oxford University Press (1929 and 1962).
1929 version 1962 version
Movt. I = 58 Movt. I = 52
Movt. II = 116 Movt. II = 144-152
Movt. III = 84 Movt. III = 76
These are the different tempo markings between the two orchestral versions parts (printed metronome marks). The main difference is the tempo marking of the second movement, originates from William Primrose's recording1. His second movement is the fastest recording on record (the quarter note=154). The first reaction on listening to it provokes a feeling of restlessness.
As will be explained later, another overall difference from the recordings is a different approach to the beginning of the Concerto. Riddle has a restrained sound throughout the opening with a narrow vibrato, and he makes an extensive use of portamento as an expressive device. He uses it softly and gently, as a resource to reach the next note an instant before it.
In my humble opinion, he creates a magical atmosphere with this sustained sound and that sung phrasing line through to the end. Taking into account the sound quality and the technical limitations of the recording at the time, the final result of the performance is astounding. At the same time, he uses almost no change of color in his sound, and portamento becomes his only expressive device.
"…just within the first twenty-five measures of the first movement, there are twelve instances of portamento2".
The abundant use of portamento is due to the fact that this tool was a crucial and basic element of romantic string playing, as evidenced by treatises and old recordings. Unlike modern performers, the exaggerated use of portamento is not as established today. On the other hand, Primrose uses his sound and vibrato as his main source of expressiveness, where he prioritizes personality and originality above all elements. Primrose's opening gives a sense of freedom in sound and flowing energy with an enviable resonant and even rhythmic space.
In the following section, specific examples of both recordings will be presented in more detail, through audio recordings.
