As fine a musician as Israeli-American violinist
Ittai Shapira undoubtedly is, it is highly unlikely that music-lovers
will be drawn to this disc for Samuel Barber's classic work. There are,
after all, so many other marvellous versions by well-known soloists
already available - Joshua Bell, Hilary Hahn and James Ehnes, to name
but three contemporaries. Indeed, as this very recording appeared on
the ASV label a decade ago (PLT 8501), some may already have it in their
collection. Moreover, though technically deleted, the disc is still
easily obtainable over the internet. On the other hand, considered as
a bonus, no one is going to be disappointed: this is a strong, solid
performance by Shapira, electric indeed in the finale, backed up by
a convincing Russian Philharmonic under Thomas Sanderling, in fairly
decent sound.
Gian Carlo Menotti's Concerto, by contrast, is something of a rarity,
whilst Wiprud's is a first recording. Jennifer Koh on Chandos (CHAN
9979) and Ruggiero Ricci on Reference Recordings (RR-45CD), - or indeed
the splendidly-named Tossy Spivakovsky, recently reissued on Naxos Historical
(8.111376-7), for those not averse to mono sound - are among the leading
competition in the Menotti. Shapira, however, svelte and soaring, comes
out on top, again with the better orchestra in support. It should be
noted that this too was originally issued on ASV (DCA1156). At any rate,
Menotti's beautiful concerto is a cross between the Barber and the Sibelius,
and just as sure-fire an audience-pleaser. Why does it not get programmed
more?
To the premiere: American composer Theodore Wiprud's passionate violin
concerto 'Katrina', written in memory of those devastated by the eponymous
hurricane that blasted New Orleans in 2005. Loosely programmatic, 'Katrina'
is a mildly 'modern'-sounding filling between two unashamedly 'old-fashioned'
works, but generally no more dissonant than, say, Shostakovich. It is
not unlike the violin concertos of David Diamond or Benjamin Lees, in
fact. Like the latter's especially, Wiprud's work is structured and
orchestrated with great colour and invention. Annotator Joanna Wyld
is unfair to liken Wiprud here to "a kind of 21st-century Gershwin"
- despite the obvious jazz and folk elements, his technique and imagination
are far superior. Appropriately, Wiprud dedicated the work to Shapira,
who gave the premiere in October 2011, and who repays the accolade with
a dazzling performance, underpinned by an authoritative Royal Liverpool
Philharmonic under Neil Thomson. Shapira has already teamed up to good
effect with Thomson and the RLPO to record his own recent violin concerto,
'The Old Man and The Sea' - see
review.
In fact, that work was recorded last year at The Friary in the same
well-engineered session as Wiprud's.
Champs Hill's booklet notes are exemplary, augmented by a touching personal
note from Wiprud and ample biographical detail on Shapira, Sanderling
and Thomson; alas not the orchestras. With a very generous running time,
this CD adds up - at least for those who do not already have the ASV
discs - to a nigh-on irresistible way to experience the thaumaturgy
of violin-with-orchestra.
Byzantion
Contact at artmusicreviews.co.uk
