Henryk Wieniawski - Violin Concertos (Gil Shaham)

Information

Composer: Henryk Wieniawski; Pablo de Sarasate

1. Wieniawski - Violin Concerto No. 1 in F-sharp minor, Op. 14: 1. Allegro moderato
2. Wieniawski - Violin Concerto No. 1 in F-sharp minor, Op. 14: 2. Preghiera. Larghetto
3. Wieniawski - Violin Concerto No. 1 in F-sharp minor, Op. 14: 3. Rondo. Allegro giocoso
4. Wieniawski - Violin Concerto No. 2 in D minor, Op. 22: 1. Allegro moderato
5. Wieniawski - Violin Concerto No. 2 in D minor, Op. 22: 2. Romance. Andante non troppo
6. Wieniawski - Violin Concerto No. 2 in D minor, Op. 22: 3. Allegro con fuoco - Allegro moderato (à la Zingara)
7. Wieniawski - Legende, Op. 17: Andante - Allegro moderato - Tempo I
8. Sarasate - Zigeunerweisen, Op. 20: Moderato - Lento - Un peu plus lent - Allegro molto vivace

Gil Shaham, violin
London Symphony Orchestra
Lawrence Foster, conductor

Date: 1991
Label: Deutsche Grammophon
http://www.deutschegrammophon.com/en/cat/4318152

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Review

The two Wieniawski violin concertos have been the province of ltzhak Penman 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 Légende 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. [12/1991]

-- Gramophone

More reviews:
http://www.amazon.com/Wieniawski-Violin-Concertos-Nos-Henri/dp/B000001GFF

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Henryk Wieniawski (10 July 1835 – 31 March 1880) was a Polish violinist and composer. Wieniawski was considered a violinist of great ability and wrote some very important works in the violin repertoire, including two technically demanding violin concertosthe second of which is more often performed than the first. His L'École moderne: 10 Études-caprices is a very well known work, and his Scherzo-Tarantelle, Op.16 and Légende, Op.17 are also frequently performed. The first violin competition named after Wieniawski took place in Warsaw in 1935, and has been held every five years since 1952.
https://en.wikipedia.org/wiki/Henryk_Wieniawski

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Gil Shaham (born February 19, 1971 in Urbana, Illinois) is an American violinist of Jewish descent. He studied at  the Aspen Music School in Colorado with Dorothy DeLay and Jens Ellermann. His playing is marked by a warm, flowing tone allied with a strong and comprehensive technique. His seriousness as a musician has made him a favored partner for many of the world's leading conductors, and other instrumentalists have been eager to collaborate with him in chamber music performances. Shaham plays a Stradivarius violin from the "long pattern" period, the "Comtesse de Polignac" of 1699.
https://en.wikipedia.org/wiki/Gil_Shaham
http://www.allmusic.com/artist/gil-shaham-mn0000687597/biography

http://gilshaham.com/

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