Wieniawski/Sarasate Works for Violin and Orchestra
View record and artist detailsRecord and Artist Details
Composer or Director: Henryk Wieniawski, Pablo (Martín Melatón) Sarasate (y Navascuéz)
Label: DG
Magazine Review Date: 12/1991
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: 431 815-2GH
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Violin and Orchestra No. 1 |
Henryk Wieniawski, Composer
Gil Shaham, Violin Henryk Wieniawski, Composer Lawrence Foster, Conductor London Symphony Orchestra |
Concerto for Violin and Orchestra No. 2 |
Henryk Wieniawski, Composer
Gil Shaham, Violin Henryk Wieniawski, Composer Lawrence Foster, Conductor London Symphony Orchestra |
Légende |
Henryk Wieniawski, Composer
Gil Shaham, Violin Henryk Wieniawski, Composer Lawrence Foster, Conductor London Symphony Orchestra |
Zigeunerweisen |
Pablo (Martín Melatón) Sarasate (y Navascuéz), Composer
Gil Shaham, Violin Lawrence Foster, Conductor London Symphony Orchestra Pablo (Martín Melatón) Sarasate (y Navascuéz), Composer |
Author: Ivan March
The two Wieniawski violin concertos have been the province of Itzhak Perlman until now, but Gil Shaham, who has already proved his mettle in Paganini, provides fine modern recordings of both the D minor, and the relatively unfamiliar Op. 14. Why this work should be less often played is inexplicable. Its first movement has a touch of melodrama, it is true, but listen to the lyrical theme stealing in magically (at 4'41'') on Shaham's bow and you will immediately be won over; even if he is made to leave the tune all too soon in favour of Paganinian pyrotechnics, he returns even more winningly (at 6'17''). His playing is no less ravishing in the slow movement Preghiera, the phrasing meltingly long-breathed. Then comes the dancing finale, which has much jaunty charm and is played with easy panache and great rhythmic sparkle.
The Second Concerto, with its restless opening mood, has a splendidly shaped exposition from Foster and the LSO, full of temperament and fire, so that the soloist is able to make a simple entrance with great effect and take up the melodic line spontaneously. He begins the Romance with a comparable innocence and plays very beautifully. The gipsy finale is enormously dashing, and the orchestra matches Shaham's exuberance. The Legende has another disarmingly attractive tune, followed by a livelier middle section; the reprise here is most touching.
For an encore we are given the famous Sarasate Zigeunerweisen. After a passionate flourish from the LSO strings, Shaham introduces the first languorous gipsy theme with real ardour and is then more beguilingly relaxed—but with glorious tone—in the big tune which follows, finally bursting into a closing cascade of fireworks in the brilliant finale, taken zestfully fast. He is balanced forwardly in this Abbey Road No. 1 Studio recording, but that is fair enough in such repertoire. The orchestral tapestry is bold and fully in the picture. Lawrence Foster's accompaniments are distinguished, following the soloist very closely indeed and giving him marvellous support.'
The Second Concerto, with its restless opening mood, has a splendidly shaped exposition from Foster and the LSO, full of temperament and fire, so that the soloist is able to make a simple entrance with great effect and take up the melodic line spontaneously. He begins the Romance with a comparable innocence and plays very beautifully. The gipsy finale is enormously dashing, and the orchestra matches Shaham's exuberance. The Legende has another disarmingly attractive tune, followed by a livelier middle section; the reprise here is most touching.
For an encore we are given the famous Sarasate Zigeunerweisen. After a passionate flourish from the LSO strings, Shaham introduces the first languorous gipsy theme with real ardour and is then more beguilingly relaxed—but with glorious tone—in the big tune which follows, finally bursting into a closing cascade of fireworks in the brilliant finale, taken zestfully fast. He is balanced forwardly in this Abbey Road No. 1 Studio recording, but that is fair enough in such repertoire. The orchestral tapestry is bold and fully in the picture. Lawrence Foster's accompaniments are distinguished, following the soloist very closely indeed and giving him marvellous support.'
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