Gidon Kremer has again recorded the Sonatas and Partitas for Solo Violin of Bach and while his facility and technical grace are intact, in this recording he appears to have been deeply influenced by his time with the moderns (Adams, Pärt, Schnittke, Piazzola, Glass, et al). For this listener it seems that studying and performing these contemporary composers' manipulation of sound and instrumental scope has enriched Kremer's thought about the perfection of Bach. Not everyone will agree with Kremer's approach to these works on this new recording, but for those who know Bach's solo violin pieces there are pleasures in store. Remaining technically suave and with a luxuriant tone, Kremer seems to be communicating with the psychological Bach, offering different tempi and more soulful approaches than those of his colleagues. The results are mesmerizing. Highly recommended.
'Capriccio' sees French violinist Renaud Capuçon, now in his early 30s, paying tribute to legendary violinists of the 20th century, including Kreisler, Heifetz, Milstein and Menuhin. This appetising selection of short pieces – virtuosic and lyrical, original compositions, transcriptions and arrangements – demonstrates the captivating charm the violin can exert.
On Soli, Tamsin Waley-Cohen's 2015 release on Signum Classics, the violinist explores modernist repertoire composed between 1944 and 2005. Because these solo violin pieces by Béla Bartók, George Benjamin, Krzysztof Penderecki, Elliott Carter, and György Kurtág are challenging for both the player and the listener, one should approach this CD with some awareness that they reflect different phases of the avant-garde movement that dominated music in the last half of the 20th century. In quieter selections where the moods are primarily brooding or lyrical, Waley-Cohen produces a vibrant tone and smooth phrasing that make her playing easy to appreciate, even when the music isn't recognizably tonal. However, in louder, dissonant passages, notably in sections of the Bartók Sonata, Benjamin's Canon for Sally, Carter's Remembering Aaron, and Kurtág's Anziksz Kellerannanak, the close microphone placement makes her bowing sound overly resinous and scratchy, which can be hard to enjoy. Even so, few violinists dare approach this bracing material, and Waley-Cohen is to be commended for devoting a whole album to such cutting-edge pieces solely on her terms, without making compromises.