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Unaccompanied
Niccolo PAGANINI (1782-1840)
Nel cor piu non mi sento, Op.38, MS 44 [14:11]
God Save the King, Op.9 (Op. Posth.) [7:50]
Bela BARTÓK (1881-1945)
Sonata for Solo Violin, Sz 117, original version [27:28]
Nikos SKALKOTTAS (1904-1949)
Sonata fur Geige allein A/K69 [11:59]
Eugene Ysaÿe (1858-1949)
Sonate pour violon seul Op.27, no 6 [7:50]
George Zacharias (violin)
rec. 28 June, 2 July 2008, All Saints Parish Church (1277), Leighton Buzzard,
England.
DIVINE ART
DDA25074 [69:18] |
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In a master class conducted by Andrés Segovia at the
University of Southern California, July 1981, students were
given the opportunity to perform solo. While most students
elected to perform pieces from Segovia’s repertory, a
minority chose works outside. One student was stopped while
playing the Adagio from Bach’s Violin Sonata No. 1 as
it is not polyphonic. Segovia explained: ‘If you play
this piece and there is a violinist in the audience he will
smile at you. You don’t want him to smile at you. The
Fugue is different; it is polyphonic. With the Fugue you can
smile at the violinist.’
Segovia had a point: for sustain, timbre and a single line
the violin is outstanding, if not unbeatable. The majority
of the violin’s repertory is for the instrument to star
in partnership or as a participant in collectiveness. Perhaps
the greatest and most conspicuous exception is the six Partitas
and Sonatas for solo violin by J.S. Bach. In the hands of a
virtuoso, multiple stoppings cater for intervals giving the
violin solo capability. The review disc pursues the violin
in that status. Others including Paganini, Bartók, Ysaÿe
and Skalkottas wrote music for solo violin and it is from their
opera that the programme here is selected.
Sixteen of the twenty-five tracks were written by Paganini,
renowned as one of the greatest exponents of the violin, solo
or otherwise. Although nothing subsequently written for solo
violin excelled, or indeed compared with Bach's six Partitas
and Sonata, some outstanding solo music for the violin is presented
here. The amazing Belgian violinist Eugène Ysaÿe
took only one week to sketch out the musical ideas for his six
sonatas, Op. 27. His preoccupation with Bach’s earlier
work is reflected in his own: the first sonata is a shadow of
Bach’s own first sonata in the key of G minor - it does
turn to the relative major. This preoccupation becomes more
an emphatic presence in his ‘Obsession’ the
essence of which is taken from Bach’s Partita in E major
Prelude. The only work presented that was not written by a violinist
is Béla Bartók’s Sonata, Sz 117. Although
Nikos Skalkottas is best remembered as belonging to Schoenberg’s
elite composition students, it should not be forgotten that
he was first, and remained, a concert violinist of prodigious
talent.
Violinist, George Zacharias was born in Athens and attended
the Athens Conservatory of Music. At the time of his graduation
in 1977 he won the First Prize and Special Virtuosity Prize.
In that same year he was accepted into an advanced year of
study at the Royal College of Music, London, and was subsequently
admitted to the Bachelor’s Degree in Music and two postgraduate
Degrees in Advanced Solo and Ensemble Performance. Under a
full Greek State Scholarship for Music, in July 2004 he was
awarded the Master’s of Music Degree in Performance with
Distinction at the Sydney Conservatorium of Music, Australia.
For those outside the violin-playing fraternity, in-depth appreciation
of the solo violin is probably an acquired taste. The bowing
of intervals and multiples, can on occasion sound jerky. Here
one is reminded of comments regarding Nathan Milstein whose
bowing in solo music was likened to the ‘thrustings of
a rapier.’ In reflecting on the comments of Andrés
Segovia regarding the Fugue in G minor from the first Bach
Sonata, it is interesting to compare the original for violin
with the arrangement for guitar. One may then conjecture as
to why he felt ‘the guitarist can smile at the violinist’.
In all aspects, the rendition of the music on this disc by
George Zacharias is well performed. His interpretations reflect
not only a highly refined technique but also empathy with the
essence of the music. It is well recommended but with one caveat:
in small doses for those unaccustomed to listening to solo
violin music for sustained periods. For the uninitiated, the
Six Partitas and Sonatas by J.S. Bach are a good introductory
undertaking.
Zane Turner
see also review by Jonathan
Woolf
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