Renaud Capuçon: My Richard Strauss Top Five
"I discovered Richard Strauss when I was in the Conservatoire in Paris," says violinist Renaud Capuçon, who here compiles an exclusive IDAGIO playlist of his favourite works by the late-Romantic composer. "I discovered the 'Metamorphosen'; I discovered all the symphonic poems, which I had the great opportunity to play when I was leading the Gustav Mahler Jugendorchester. We played 'Heldenleben' with Ozawa, we played 'Tod und Verklärung' and the 'Four Last Songs' with Abbado. We did 'Don Quixote' with Yo-Yo Ma and Ozawa. I got completely immersed in this amazing music. I realise now it was such a privilege."
Read more…Violin Sonata
Of course when I discovered Strauss I also wanted to learn the Violin Sonata. It's one of my favourite pieces because, although it’s an an early work, you can hear all of the Strauss that is coming — you have a bit of 'Rosenkavalier', you have a bit of 'Salome', of 'Heldenleben'. It's not fully developed, but you have an idea of where the composer's going. The problem with this sonata is that, if you don't know the organic way of Strauss, if you don't know Strauss the composer and those other works, you're only playing half the piece. I have recorded it, but it didn’t come out: it’s still "in the fridge". Maybe I should make it come out, but in the meantime I’d recommend the recording by Kyung Wha Chung and Krystian Zimerman: I think they really play orchestrally.
Ein Heldenleben
It was my last tour with the Gustav Mahler Jugendorchester so it was very exciting for me to be able to play 'Heldenleben' and the violin solo, with Ozawa conducting. It's a huge part and it's very exposed. You can show a lot of virtuosity, but there should also be a sense of tension. There's huge pressure on the solo violin, but it's so rewarding, playing the solos as well as leading the section. It was one of the most exciting musical times of my life, and I advise all my students to have this kind of experience, even if they are going to become soloists: they should be able to play these pieces in the orchestra, to be surrounded by this symphonic sound. You're not the same before and after. Karajan and the Berlin Philharmonic with Michel Schwalbé: that would be a good choice. It’s the sound of the orchestra and Karajan, and there is also something very aristocratic in Schwalbé’s sound.
Metamorphosen
I see 'Metamorphosen', in particular, as my piece. I go back to it all the time, playing and listening. I discovered it at the Paris Conservatoire, when I was 17 or 18. I went to see the director there and said: "I want to play this. If you can organise a concert hall, I'll organise everything else. I'll call 23 people; I'll organise a conductor." I'll never forget the first read-through. We were all discovering this masterpiece, and it's held a very special place in my life ever since. What I love in this piece is the fact that it's just one sound: it's 23 people serving, with different parts, one composition and one composer. I still go back a lot to the recording with Kempe and the Staatskapelle Dresden, to their recording of 'Metamorphosen' as well all their recordings of the late instrumental works.
Four Last Songs
I saw a video of one of the concerts with Abbado when I'm playing the solo in 'Beim Schlafengehen', the third of the Four Last Songs, and now I can see how he was, with his left arm, almost driving my right arm: he's phrasing so much and he's directing me, conducting me, making me play in a way I didn't know I was able to. It's amazing, and it's fascinating the power of him as a musician. If I had to choose a recording, I'd pick Gundula Janowitz and the Berlin Philharmonic. It's for the sound of the orchestra, which in Strauss at the time of Karajan was very, very special. And it still is today. And the voice of Janowitz: it's just so warm, and the diction is amazing.
Capriccio: Sextet and Moonlight Music
'Capriccio' is my favourite opera. I'm completely crazy about it. Sometimes you can't explain why you love a composer; it just sticks to me completely. I asked a friend of mine to transcribe the "Moonlight Music" for violin and piano; and the opening Sextet I play a lot, and I often programme it with the 'Metamorphosen'. And I've even played the full opera. When I saw it was planned at the opera in Paris, I asked my friend [Opéra de Paris music director] Philippe Jordan: "Please can I play with you?" I did two rehearsals and two performances. It was one of the most amazing times of my life! As a recording I’d choose Karl Böhm. I like the fact that he knew Strauss and worked with him, and I’m just amazed by his sense of tempo. And you hear clear lines – like a mille-feuille.