Alexi Machavariani: Violin Concerto in D minor (1949)
Alexi Machavariani
born 23 Sept. 1913 in Gori (Georgia)
died 31 Dec. 1995
First performance:
1949 by Michael Vaiman
Recording on Youtube:
Michael Vaiman 1953
Liana Isakadze, 1977
The well-known and frequently performed violin concerto by Aram Khatchaturian comes from Armenia, and from Georgia, the neighbouring state in the Caucasus, comes a comparably equally stirring
and at the same time lyrical violin concerto by Alexi Machavariani (also transcribed from Georgian as Matschavariani or Matchavariani).
Born in the same town as Stalin, Gori, he was an early oppositional figure, entangled in the fortunes of his native Soviet Republic of Georgia. He was arrested several times in the 1920s and
1930s, reviled as a formalist artist, and by 1952 he and his family were on the red list, like Shostakovich and other fellow composers. His fate and the death of Stalin in 1953 saved him too.
Alexi Machavariani found his style, which was influenced by Georgian folklore, with the composition of his famous violin concerto in 1949, which was performed in many countries but is now
completely forgotten in Western Europe. The first performers were Michael Vaiman (Leningrad) and David Oistrakh (Moscow). The concerto was recorded several times by "Melodia", as well as by
"Columbia Records" in the USA.
Unfortunately, there are no recent recordings, so you have to check Youtube or some streaming services.
The fact that Alexi Machavariani's violin concerto also attracted attention in Western Europe in the past is attested to by the following testimony (to be found on Alexi Machavariani's
homepage): "A. Matchavariani's violin concerto is beautiful - it contains all the passion, the poetry and deep spirituality... Added to the lyrical quality of the music there is a robust
intellectual approach - all in all, a most memorable piece which any violinist would have great pleasure in interpreting. (Sir Yehudi Menuhin. London. 20-06-1985).
So let's listen more closely!
Live recording
I. Allegro
A folkloristic unison melody of the orchestra, wildly entering in D minor, immediately taken up and continued by the violin, makes the beginning. One is in the midst of strange but interesting movements. A second theme then sings, accompanied by flutes and harps, a longing-sweet song. The violin rises to ever higher registers, memorably lyrical and poetically evocative of other worlds and other cultures. A transition in double stops of the violin leads back to the first tempo. A bassoon, the whole orchestra and then the violin in detail vary the folkloristic opening mood in a free, rhythmically very moving development brilliantly conceived for the violin. At the end of this virtuoso part, the orchestra is allowed to sing out in broad, full harmonies. Then follows the violinistically brilliant cadenza. The recapitulation insists again on the folkloristically influenced unison melody, which leads back into the poetic atmosphere of the second theme. Once again the violin muses and almost loses itself in the beauty of the sounds, a longing even in the 20th century for pure beauty..... a bassoon calls back, the wild rhythms sweep us away and build up to the imposing conclusion.
II. Andante Sostenuto
A carpet of sound is spread out, the orchestra weaves very simple floating harmonies and prepares the entry of the violin. The violin hesitantly plays a two-note motif and only slowly begins to rise softly, but the hesitant two-note motif remains in the memory, even when it changes to lower registers. The violin loses itself more and more intensely in its singing. Unrest arises in the violin and orchestra, the orchestra interrupts in long sustained sounds, the violin reacts and rushes forward as if driven, until it regains its initial calm. The orchestra also poetically takes over the hesitant two-note motif. More and more, however, the motif becomes a melody that expands far into a distant space of longing.
III. Allegro Vivo
The mood changes again immediately after this poetic movement, a wild dance follows. One thinks one sees dancers jumping from one leg to the other. The new first theme is outrageously simple, a
four-sixteenths upbeat and then a high D repeated constantly rhythmically on the same note. Immediately the violin joins the wild dance and dances its way to the fore. As simple as everything
begins, the movement becomes so colourful through the varied instrumentation and a never tiring violin.
Only towards the end does the violin assert itself once more in a dark, passionate melody, colourfully painted by the orchestra. As wild and lively as the dance is, it also expresses much
suffering and passion. The listeners are carried away by this vitality and passion, perhaps even stirred up. Poetry and joie de vivre, however, dominate at the end, the wild dance swirls and
rises to ecstasy, the violin takes off.... Timpani roll, end.