Back in the 1970s Itzhak Perlman recorded a “Spanish Album” (for EMI) with pianist Samuel Sanders, an unusual and very exotic program for the time, and one that introduced many listeners to much of the repertoire included on this terrific disc from Gil Shaham and friends. Apparently Perlman’s substantial record catalog, including that Spanish album, has now been almost entirely relegated to repackaged compilations, elements of that legendary Spanish program dumped onto a disc titled “Virtuoso Violin” (the packaging gives no clue that it’s an all-Spanish program—read our review here). Not surprisingly his playing still holds up as reference-quality, but this effort—part live, part studio—from virtuoso Gil Shaham (with a few contributions from Adele Anthony) is a first-rate alternative, albeit with a few sonic issues (the shifting ambience and perspective of the live vs. studio tracks, and the inclusion of applause in the former; also, throughout the violin is weighted heavily to the left channel). The recordings were taken from a series of concerts and recitals given in 2008 in Spain dedicated to Sarasate in his centenary year.
But there’s no issue with Shaham’s playing, through which he conveys the full and varied flavors of the music while sparing his Strad no demands of expression or timbre or technical possibility. And you can hear just about all of that wrapped up in one piece: the six and one half minutes of Capricho Vasco (Caprice Basque ) Op. 24. But then if you only listen to that, you’d miss the playful dance of the Gavota de Mignon Op. 16, full of character (and some dazzling bowing demonstrations), or the ultimate show-off violin piece, Zapateado Op. 23 No. 2 (the left-hand pizzicato! the harmonics!). And of course, in the hands of a violinist who knows how to command both music and the stage, the Zigeunerweisen and Carmen Fantasy are just pure, pleasurable entertainment.
As she often does, Adele Anthony performs on this recital with her husband, performing three pieces by herself, and joining Shaham for the program’s final work, Navarra for 2 violins Op. 33. Her contributions are every bit as musically engaging and technically impressive (indeed, if you don’t look at the track information on first listen you can only guess which ones she plays). Her Song of the Nightingale Op. 29 is a highlight. The orchestra (appearing on four of the 16 selections) is certainly capable enough, well-versed in the idiom and style, and well-led by Alejandro Posada; if only its full, vibrant sound were on better display instead of pushed slightly to the background. In all, this is an eminently worthy tribute to Sarasate and to the virtuoso solo violin itself. It doesn’t replace Perlman, but it does offer some alternative repertoire to that found on his available recordings—and you absolutely can’t argue with the playing!
