When Viktoria Mullova sensationally fled from the Soviet Union to the West in 1983, she was best known for winning the 1980 Jean Sibelius Competition and the 1982 Tchaikovsky Competition. It seemed logical that the hugely popular concertos of these two composers should feature on her first record release; and everyone s faith was justified when the project won a Grand Prix du Disque. Yet these were not the usual interpretations of the two works. To connoisseurs, Mullova appeared to be the finest representative in her generation of a particular strand of the Russian violin tradition, a strand first proposed in the late 1940s and early 1950s by the shortlived Yulian Sitkovetsky and the intensely virtuosic, profound master Leonid Kogan. It was a dazzlingly clean, uncluttered violin style that shed all the baggage of the Leopold Auer tradition; and it was no coincidence that Kogan was Mullova s teacher. Since then, Mullova has moved on to many other things, including playing the Baroque violin; but these two performances, aided and abetted by the wonderful Boston Symphony under Seiji Ozawa, still shine as beacons of her early brilliance and her unsentimental sympathy with the Romantic ethos.
Written for his friend Joseph Joachim, Brahms s Violin Concerto was greeted rather grumpily by other male violinists of the time; and Joachim s female pupils Marie Soldat and Leonora Jackson did as much as anyone to establish it in the concert hall. Their successors included Ginette Neveu and Ida Haendel. So when Viktoria Mullova came to record it, she was drawing on a healthy tradition and her teacher Leonid Kogan was one of the Concerto s greatest exponents. To Brahms s unique blend of craggy monumentality and lyricism, Mullova brought slashing virtuosity, Olympian objectivity and structural strength in the outer movements, and poised beauty of tone in the central Adagio. Her security of technique and intonation was a great asset in this dramatic music. Her partners could hardly have been better chosen. The Berlin Philharmonic was conducted by Joachim for a time and first played this Concerto under his baton in 1885, with Soldat as soloist. Claudio Abbado represented the Italian Brahmsian tradition of Arturo Toscanini and Antonio Pedrotti, which leavened Brahms s north German rigour with southern warmth; and the live recording was made on tour in Tokyo, during a series of performances with these collaborators.