Emotional Violin

World premiere recordings
The interpretations from László Paulik using a Jahann Hentschl violin (c.1750) are of an exceptional standard with assured and expressive playing of purity and precision of intonation that at times takes the breath away. In the Allegros he displays astonishing virtuosity of great elegance with clean textures and articulation. I especially loved the heavenly sounds he displays and the high degree of emotional intensity in the contemplative and affecting Adagios. The sensitive support is impeccable displaying a wide spectrum of orchestral colours. Michael Cookson

While not a lot of its classical pursuits in the 2000s have panned out, Sony Classical has had good luck with violinists, thanks due to the popularity of contract player Hilary Hahn and an apparent assumption of the recording duties of the great Canadian violinist Lara St. John. This is Latvian violinist Baiba Skride's third disc, the first two being released simultaneously in 2004 and, of these, the violin solo disc – containing works by Ysayë, Bartók, and Bach – winning a German Echo Classic award.

Separately, Paganini's Caprices (24) are among the most difficult pieces ever written for the violin. Together, they are the very definition of violin virtuosity. And not just technical virtuosity, but tonal and even emotional virtuosity. Playing the notes perfectly is the beginning – not the end – of performing the Caprices: playing the notes with exquisite beauty and emotional expressivity is the goal of performing the Caprices.

This sensational disc has served as a reference edition for both concertos since it was first issued back in the late 1980s. The Sibelius concerto is distinguished by the tension between Lin’s passionate and virtuosic account of the solo part and Salonen’s remarkable precision at the head of the orchestra. Listen, for example, to the remarkable rhythmic clarity at the opening of the finale, and to the way this serves to “float” Lin’s daredevil pyrotechnics up above. It’s just marvellous. The same holds true of the Nielsen–there is no finer account of this neglected concerto. It’s a rarity because in the finale Nielsen subordinates flash and dazzle to the work’s overall emotional arc, progressing from anger to contentment. That doesn’t mean the music isn’t excellent, or that Lin and Salonen’s performances aren’t gripping from first note to last. They tear into the opening movement with apt ferocity and find the necessary emotional resolution in the work’s amiable conclusion. The detailed, well-balanced sound ideally suits the interpretations. Essential.

Mendelssohn, Panufnik, Takemitsu, J.S. Bach
Works for violin & orchestra (Sitkovetsky - NESCO - Sitkovetsky)
EAC 099pb4 Rip | FLAC+CUE, LOGs | 1 CD | 75:08 min
385 MB | 300 dpi PDF Complete Scans
Genre: Classical & Modern | Label: Emi - Angel

In the Bach Double Concerto, Sitkovetsky is joined by his uncle Dmitry, and it's fascinating to hear how well matched they are - Alexander (playing the prime part, I assume) having a more refined and slightly brighter sound. Theirs is a stylish performance, too, featuring long lines, flowing tempi and nimble orchestral playing. In fact, despite the awkward name, the New European Strings Chamber Orchestra are a tight-knit band with a handsomely warm sound. Recorded in the Henry Wood Hall, London, in 2002, when Alexander was not yet 20, this disc offers further evidence of a career that could (and should) be spectacular. -- [8/2004]