Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett



APPASSIONATO

Feliks WIENIAWSKI (1835-1880) Légende Op.17 [7.14]
Henri VIEUXTEMPS (1820-1881) Romance Op.40 No.1 [5.24]
Alexander GLAZUNOV (1865-1936) Meditation Op.32 [4.24]
Sergei RACHMANINOV (1873-1943) Daisies (Margaritki) Op.38 No.3 [2.39]
Sergei PROKOFIEV (1891-1953) Winter Fairy (Feya Zimy) Op.35b No.4 [4.18]
Franz ERNST (1814-1865) Élégie Op.10 [6.11]
Donaldo PORUMBESCU (1853-1883) Balada Op.29 [6.15]
Josef SUK (1874-1935) Un poco triste Op.17 No.3 [4.45] /Appassionato Op.17 No.2 [4.27]
Henri MASSENET (1842-1912) Méditation from Thais arr Roger Nichols [5.57]
Johann SVENDSEN (1840-1911) Romanze Op.26 [7.51]
Niccolo PAGANINI (1782-1840) Cantabile Op.17 [4.03]
Pablo de SARASATE (1844-1908) Sérénade andalouse Op.28 [4.57]
Fritz KREISLER (1875-1962) Liebesleid [3.18]
Lydia Mordkovitch (violin)
James Kirby (piano)
No recording information provided
CHANDOS CHAN 10028 [72.59]


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Fine a player though Lydia Mordkovitch is, and there is much sensitivity where elsewhere her playing can be rough hewn at the edges, the problem here is the similarity between all the pieces. We are presented with fourteen tracks of generally reflective mood at, give or take a poco here or a più there, the same Andante tempos. One yearns for some froth and sparkle to alleviate all that Moderato molto espressivo, and mercifully track 9 (Suk’s Appassionato Op.17 No.2) does just that with its robust energy and rhythmic vitality. Then it’s back to more of the same in contemplative mood, so perhaps the title is wrong, for we are getting too much meditation and not enough passion and furthermore too little variety of style (stuck in the late 19th century). If the purpose of choosing this selection is make the point that not all the music played by touring instrumental virtuosi zipped along in a shower of notes up and down the violin at breakneck speed, then the point is taken after a few of these lyrical pieces - but a more accurate picture would have been to mix them up with some bravura moments, for the double stopping in Sarasate’s Andalusian serenade Op.28 on track 13 comes as a welcome relief to all the solo line playing which has gone before.

Nevertheless Mordkovitch plays with stylish sensitivity, underscoring the music’s simple poignancy or occasional fuller-toned passion, while James Kirby gives discreet support throughout (expertly shadowing Mordkovitch’s rubato in Paganini’s Cantabile Op.17). Beautiful and committed playing by both artists, but don’t expect a great variety in style or mood despite the large number of items on offer. Given the CD cover’s red rose, ‘con dolce amore’ might have been a more appropriate choice of title.

Christopher Fifield

 



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