Notes and Editorial Reviews
Boundless energy underpinned by a tender warmth.
Though Vadim Repin is often overshadowed by fellow Russian Maxim Vengerov, his technique is impeccably honed and his playing reveals much subtlety of tone colour. He may not have Vengerov’s capacity to thrill, but his playing lacks nothing in character. In these recordings of Strauss, Stravinsky and Bartók he achieves a real sense of intimacy, aided by the ever-sensitive Boris Berezovsky. Repin’s rich tonal colourings and refined phrasing are always impeccably judged, and he achieves a delicacy that allows Strauss’s sumptuous themes room to breathe: the second movement, in particular, contains some deliciously light, playful moments.
virtuosity required in both Stravinsky’s Divertimento and Bartók’s Romanian Dances sees Repin in his element: he tackles the most demanding of phrases with a wonderful lightness of touch. The Divertimento is in fact a transcription of The Fairy’s Kiss, made by Stravinsky and violinist Samuel Dushkin from the orchestral suite. Repin plays with boundless energy underpinned by a tender warmth, from the lush bravura of the ‘Danses suisses’ to the high-wire romancing of the Adagio. A gritty, biting edge to his tone adds to the vitality of the Bartók’s dance rhythms, and here again Repin’s expressive virtuosity – in the shimmering harmonics of the ‘Stamping Dance’ in particular – proves him a worthy equal to Vengerov.
-- Catherine Nelson, BBC Music Magazine
Works on This Recording
Divertimento for Violin and Piano by Igor Stravinsky
Boris Berezovsky (Piano),
Vadim Repin (Violin)
Period: 20th Century
Written: 1932; France
Notes: Arranged: Igor Stravinsky and Samuel Dushkin
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