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Gil Shaham Plays Wieniawski, Saint-Saens & Sarasate


Release Date: 11/19/2010 
Label:  Deutsche Grammophon   Catalog #: 459056   Spars Code: DDD 
Composer:  Henri WieniawskiPablo de SarasateCamille Saint-Saëns
Performer:  Gil Shaham
Conductor:  Lawrence FosterGiuseppe Sinopoli
Orchestra/Ensemble:  London Symphony OrchestraNew York Philharmonic
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 12 Mins. 

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This CD is reissued by ArkivMusic.

Notes and Editorial Reviews

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
Read more 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.

-- Gramophone [12/1991, reviewing the Wieniawski 2nd Concerto and the Sarasate pieces]

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Shaham has his own individuality, as one discovers readily when listening to the exquisitely gentle way he presents Saint-Saens's captivating Barcarolle, which forms the principal melody of the Andante of the B minor Concerto. There is another moment of magic at the appearance of the chorale in the finale. Sinopoli, who proves a superb accompanist, introduces this with a rapt pianissimo on the orchestral strings (track 6, 4'01") and the violin entry 26 seconds later perfectly catches the exquisite mood of a tune that later we are to hear quite transformed and shining out stirringly on the brass. The concerto's boldly passionate opening has the kind of dash and flair—to say nothing of an unexaggerated G-string gutsiness—from the soloist that is to make the histrionics of the finale sound so racily exuberant.

-- Gramophone [5/1991, reviewing the Saint-Saëns 3rd Concerto]
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Works on This Recording

1.
Concerto for Violin no 2 in D minor, Op. 22 by Henri Wieniawski
Performer:  Gil Shaham (Violin)
Conductor:  Lawrence Foster
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1862; St. Petersburg, Russ 
Venue:  London, Abbey Road Studio 
2.
Légende for Violin and Orchestra in G major, Op. 17 by Henri Wieniawski
Performer:  Gil Shaham (Violin)
Conductor:  Lawrence Foster
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: circa 1860; St. Petersburg, Russ 
Venue:  London, Abbey Road Studio 
3.
Zigeunerweisen, Op. 20 by Pablo de Sarasate
Performer:  Gil Shaham (Violin)
Conductor:  Lawrence Foster
Orchestra/Ensemble:  London Symphony Orchestra
Period: Romantic 
Written: 1878 
Venue:  London, Abbey Road Studio 
4.
Concerto for Violin no 3 in B minor, Op. 61 by Camille Saint-Saëns
Performer:  Gil Shaham (Violin)
Conductor:  Giuseppe Sinopoli
Orchestra/Ensemble:  New York Philharmonic
Period: Romantic 
Written: 1880; France 
Venue:  New York, Manhattan Center 

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