Barber Violin Concerto

Gil Shaham took up the violin aged seven and a mere three years later debuted as soloist with the Jerusalem Symphony Orchestra. Less than a year later, Shaham performed with Israel's foremost orchestra, the Israel Philharmonic, conducted by Zubin Mehta. Shaham has since performed with many of the world's leading orchestras. His recordings for Deutsche Grammaphon reveal a broad repertoire and not least an affinity to the music of the twentieth century.

This sparkling suite for violin and piano came into being when the composer had to adapt his incidental score for a production of Shakespeare's play to the impending absence of the chamber orchestral. The result is a brilliant piece for violin and piano, which the composer quickly released in a four-movement version. There are other recordings of the chamber orchestra suite in five-movements that duplicate only three of the movements of this version. Violinist Gil Shaham and pianist André Previn are ideal partners in this brilliant performance. The four movements allow Shaham to show four sides of his violinist's personality: He skips and plays in carefree fashion in the opening movement, indulges in the grotesquery and parody of the second, gets to play the romantic in the garden scene of the third movement, and dazzles with virtuosity in the final hornpipe. Previn's part is more than mere accompaniment; the piano often has a large part of the mood of the music and his contribution is, to use a word already employed here, ideal.

When you ask people which superpower they would choose if they could have only one, many answer that they would want the power of flight. Although I personally would prefer invisibility, I also think there is something enviable about the freedom of being able to fly, to soar through the sky, above all the stress and troubles of life down on the ground. A lot has been said and written about how Vaughan Williams wrote The Lark Ascending during the 1st World War “when a pastoral scene of a singing bird on the wing seemed far removed from reality” (Betsy Schwarm, Britannica). I sometimes imagine people living through difficult times looking up at the lark, envying its life and freedom that they wish they had. It's a moving piece with soaring melodies and the lark's “silver chain of sound” (George Meredith's poem The Lark Ascending).

This 5 CD boxset presents the complete set of internationally acclaimed violinist Hilary Hahn’s recordings for Sony. Contained are recordings of much-loved works such as Bach’s Partitas for Solo Violin, and concerti by Beethoven, Brahms, Mendelssohn, Shostakovich, and more – including the violin concerto written specially for Hahn by Edgar Meyer.

Two immediate thoughts: the music of the American composer Samuel Barber (1910-81) is grossly under-performed (and indeed under-rated); and the cello concerto repertoire is relatively meagre. On hearing this Barber concerto (composed in 1945, and subsequently revised) for the first time, why, I asked myself, is it not up there with Dvorak, Elgar and Shostakovich? It's an absolutely terrific work, quite able to hold its own in such exalted company, and a fine example of what I would call Barber's distinctively spiced late-romantic idiom.

Nathan Milstein once described Sergei Prokofievs first violin concerto as: indeed one of the best modern violin concertos a brilliant piece, perhaps the finest of all Prokofievs works, while the second concerto was taken up by violinists such as David Oistrakh and Jascha Heifetz. Here the two works are interpreted by the Ukrainian-born Vadim Gluzman, who as many critics have remarked is firmly based in the glorious tradition of these and other virtuosos of the 19th and 20th centuries.

Isaac Stern may have begun his career as "just" a virtuoso of the violin, but his legacy exists as so much more. A consummate and passionate musician if there ever was one, he was also an ambassador of classical music to the American people, the savior of Carnegie Hall, and a mentor to countless students. This two-disc set entitled The Essential Isaac Stern reveals but the tip of the iceberg of his legacy. The first disc is devoted to single movements of eight of his appearances with orchestra, in particular the Philadelphia Orchestra under Eugene Ormandy, with whom he had a long-standing, highly successful relationship. The works selected do not entirely reflect the breadth of his repertoire. The same is true of the second disc, which focuses on his many chamber music recordings with some of the greatest musicians of the last century, including Pablo Casals, Leonard Rose, Mstislav Rostropovich, and Yo-Yo Ma to name but a few.

Hilary Hahn delights in putting together works that normally don't go together. Her previous pairings of works by Beethoven and Bernstein, Barber and Meyer, and Brahms and Stravinsky went against what most listeners and critics think of as apt disc mates. And in every one so far, Hahn has succeeded: each performance is superb in its own right and each sounds even better in context of the work with which it shares disc space. But not this time. In her new recording of Mendelssohn's E minor and Shostakovich's A minor concertos, Hahn has coupled an astoundingly brilliant performance of the former with a slight and shallow performance of the latter.

On the eve of his centenary in 2018, Sony Classical releases the most important collection, Leonard Bernstein’s classic American Columbia recordings, remastered from their original 2- and multi-track analogue tapes. This has allowed for the creation of a natural balance (for example, between the orchestra and solo instruments) that brings the quality of these half-century-old recordings, excellent for their time, up to the standards of today’s audiophiles. In addition, there has been a meticulous restoration of some earlier masterings in which LP surface noise was too rigorously eliminated at the expense of the original brilliance.