Lilia D’Albore · Violin Recitals in Germany 1939-1955

February 2021 ∙ MusicWeb International ∙ Lilia D’Albore ∙ Violin Recitals in Germany 1939-1955
Listening to the recent releases from Meloclassic has been a learning-curve for me. I refer to the numerous first encounters with long-forgotten artists. The Italian violinist Lilia d’Albore (1911-1988) is one such. Once again I’m thankful to Meloclassic for the detailed biographical booklet notes. These live airings derive from four recitals taped between 1939 and 1955. All are denoted as radio studio recordings, and each originates from Stuttgart. The Schubert Violin Sonata in D major, often referred to as a sonatina, had been previously recorded by the duo commercially fourteen years earlier in Decmber 1941 for Deutsche Grammophon Gesellschaft (LM 67847/67848), so they’d obviously grown with it. It sounds very Mozartian, fusing grace, refinement and lyric charm. There’s a pleasing handful of Baroque items, featuring Corelli, Tartini and Vivaldi, repertoire the duo seem very much at home with. They deliver stylish and idiomatic readings, all the better for d’Albore’s imaginative ornamentation. On 20 November 1953 the duo performed a recital dedicated to Finnish composers. One wonders if this was the sum total of the concert, or whether other works were featured. We open with Sibelius’ classically modeled Sonatina in E major for violin and piano Op 80 from 1915. The composer wrote in his diary in January of that year “Been dreaming about being twelve years old and a virtuoso. The sky of my childhood and stars. Lots of stars.” This gives some indication of the general tenor of the work. In three movements, the first makes use of thirds on the violin, set against sparkling cascades on the piano. There’s a childhood innocence about the middle movement, with the finale evoking playful and dance-like elements. I may be mistaken, but I don’t think the Madetoja has been recorded commercially. A pity, as its melodically generous, with each instrument cast on an equal footing. Giesen achieves some lovely bell-like sonorities in the slow movement. The finale is animated and busy, and d’Albore keeps everything lissome and lithe. The Palmgren Romance is another rarity, where the violinist draws a rich sound from the opening G string melody. The rest is ardently etched lyricism. We also have a small selection of encore-type pieces. I was utterly amazed by d’Albore’s spiccatos in Paganin’s Moto Perpetuo, a performance, speed-wise, that easily rivals that of Heifetz and the young Menuhin. There’s an enchanting Sicilienne by Paradis, with Ravel’s Pièce en forme de Habanera sultry and evocative. Audio-wise, there’s consistency throughout. This is an artist worthy of your ‘ear-time’.
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