J S Bach: Sonata No. 2 in A minor BMV 1003
Serge Prokofiev: Sonata No.2 in D major, Op 94a
Pablo Sarasate: Caprice basque Op 24
After Freddy Kempf’s lacklustre playing of Bach
on the piano (reviewed on 6th January), I had hopes that
Ilya Gringolts’ Sonata No. 2 for solo violin would prove a more
enticing experience. Regrettably it didn’t, and I also found his Prokofiev
and Sarasate disappointing, particularly given the fact that Gringolt’s
first disc on BIS had been received with generally positive reviews.
The severity of his stage manner is all but mirrored in his austere
playing style which makes little attempt to colour the violin with anything
other than shades of black and white. This was drab playing, not helped
by a rather removed accompaniment by Ashley Wass at the piano.
His Bach was disfigured by problems of clarity, and this was more evident
in the Fuga than anywhere else in the sonata. There are many
more double, triple and quadruple notes to master here than in the other
movements and the slow tempo evidently made them more exposed than they
need be. Gringolts was certainly more at home in the spread chords of
the opening Grave, although he all but ignored Bach’s rest marks,
and his playing of the demisemiquavers in both movements was less assured
than it might have been. A very short bow length gave his tone a rather
shallow sound and the very few dynamic markings which Bach points to
in the Allegro were indecipherable from the main thrust of Gringolts’
playing.
The Prokofiev had considerable beauty of tone – sweet and brooding
in equal measure. Yet, this performance lacked charisma and Gringolts
didn’t really make this work disturbing enough, with dotted rhythms
rather half-heartedly materialising. As if to push the point, Ashley
Wass was under-powered in the ostinato passages of the allegro, as Gringolts
was in the arpeggios. His double stopping and pizzicato lacked resolve.
The Sarasate did not lack virtuosity, but it was earthbound – more a
vehicle for Gringolts’ undoubted ability to play rapid bow and left-hand
pizzicato passages, rather than endow the work with a genuine Spanish
feeling.
Marc Bridle
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