Monday, May 15, 2017

Sarah Chang - Sweet Sorrow


Information

Composer: Various
  1. Vitali - Chaconne (orch. Léopold Charlier)
  2. Gluck - Mélodie (arr. Fritz Kreisler)
  3. Brahms - Hungarian Dance No. 1 in G minor
  4. Lalo - Symphonie espagnole, Op. 21: IV. Andante
  5. Vieuxtemps - Violin Concerto No. 5 in A minor, Op. 37: II. Adagio
  6. Vieuxtemps - Violin Concerto No. 5 in A minor, Op. 37: III. Allegro con fuoco
  7. Paganini - Sonata in E minor, Op. 3 No. 6: I. Canzonetta: Andante innocentemente (arr. Sally Thomas)
  8. Paganini - Cantabile in D major (arr. Ruggiero Ricci)
  9. Sibelius - Nocturne, Op. 51 No. 3
  10. Chopin - Nocturne No. 20 in C sharp minor, Op. posth. (arr. Nathan Milstein)
  11. Liszt - Consolation No. 3 in D flat major (arr. Nathan Milstein)
  12. Tchaikovsky - Violin Concerto in D major, Op. 35: II. Canzonetta: Andante
  13. Saint-Saëns - Introduction and Rondo capriccioso in A minor, Op. 28

Sarah Chang, violin
English Chamber Orchestra; Jun Märkl (1)
Royal Concertgebouw Orchestra; Charles Dutoit (4)
Philharmonia Orchestra; Charles Dutoit (5, 6)
London Symphony Orchestra; Colin Davis (12)
Philadelphia Orchestra; Wolfgang Sawallisch (13)
Charles Abramovic, piano (2, 7-9)
Jonathan Feldman, piano (3)
Sandra Rivers, piano (10, 11)

Date: 1999 (compilation)
Label: EMI
https://www.discogs.com/Sarah-Chang-Sweet-Sorrow/release/5622354


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Review

Among the many talented young violinists who have emerged in the last decade, Sarah Chang has withstood the test of time. She has bravely managed the delicate transition from child prodigy to adult performer — at least as far as her look is concerned. Musically, she also has her own voice, distinguished by a warm tone, a tight vibrato, and a sharp high register. The quality of her playing varies among the 13 selections in this bittersweet collection of previously released material. If the earlier recordings (Chopin Nocturne No. 20 and Liszt Consolation No. 3 in Nathan Milstein arrangements, Brahms Hungarian Dance No. 1) sound a bit constrained and stiff, the later ones reveal a more flexible musician, technically at ease. But why does she use the same monotonous color and expression in every piece? The Canzonetta from Tchaikovsky’s Concerto sounds the same as the Andante from Lalo’s Symphonie espagnole. Sarah Chang’s lament-like tone works best in the Vitali Chaconne transcribed by Léopold Charlier, the only new recording on this CD, and in the melancholic cantabile of the Gluck/Kreisler Mélodie. Fans will enjoy.

-- ClassicsToday

More reviews:
http://www.gramophone.co.uk/review/sarah-chang-sweet-sorrow
http://www.musicweb-international.com/classrev/sept99/chang.htm
http://www.amazon.com/Sweet-Sorrow-Tommaso-Antonio-Vitali/dp/B00000K4F0

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Sarah Chang (born December 10, 1980 in Philadelphia, Pennsylvania) is an American classical violinist. Due to her musical accomplishments, Chang is among a very small number of professional figures recognized as a child prodigy. She studied at the Juilliard School, graduated in 1999 and had major roles as a soloist with many of the world's major orchestras. Chang plays the 1717 Guarneri del Gesù violin, which she received through the late Isaac Stern. She has been a cultural ambassador for the U.S. and was invited to play in North Korea's capital, Pyongyang in 2002.
https://en.wikipedia.org/wiki/Sarah_Chang
http://sarahchang.com/

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