The composer Charles Villier Stanford set his students the task of composing chamber music in which Brahms’ influence was not noticeable. The clarinet quintet by his student Samuel Coleridge-Taylor fulfilled this requirement. On the other hand, it showed the influence of Antonin Dvorak, which allows us to establish a connection between the two recorded violin concertos. Coleridge-Taylor’s violin concerto was his last major work.
With rhapsodic flourishes for the soloist and exploratory passages, otherwise a classical sonata movement, the composer creates an extravagant introduction in which the soloist embellishes the theme with arpeggios, making it increasingly complex. The second movement is lyrical, a nocturne with a violin part enchantingly woven into the orchestral texture, in which African and African-American folk tunes also play a role. The finale alternates between rondo and rhapsody with largely light orchestration, until it ends back at the opening theme.
The two violin concertos can also be heard under the common theme of the formulation of cultural identity and the examination of history. Antonín Dvorak’s concerto reflects his examination of Slavic folk traditions. The dance rhythms derived from Czech traditions enliven the work, especially in the finale. Curtis Stewart’s new work, heard here in its premiere recording, also fits into these questions of ancestry and appropriation of history.
Commissioned by the VSO, ‘F. Harper” from Curtis Stewart’s ‘The Famous People’ is part of a series of new compositions based on Dvorak’s Slavonic Dances and incorporating traditional African-American dance forms.
Gil Shaham is one of those violinists with impeccable technique, and his elegant, beautiful playing makes him a gentleman violinist. His impressive, high-quality playing is always a pleasure to listen to. If there is anything missing, it is harsh attack and virtuoso bravado. Here, too, he offers soulful performances rich in nuance and expression.
The Virginia Symphony Orchestra and its music director Eric Jacobsen match the soloist’s style. They provide an exceptionally solid framework for the solo passages and, with their confident playing, deliver beautiful accompaniments to all three works.
