Ilya Gringolts plays Paganini

BIS: BISCD999

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Ilya Gringolts plays Paganini

Label:

BIS

Catalogue No:

BISCD999
(BIS-CD-999)

Discs:

1

Release date:

1st March 1999

Barcode:

7318590009994

Length:

71 minutes

Medium:

CD (download also available)
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Ilya Gringolts plays Paganini


Paganini:

Introduction & Variations on 'Nel cor più non mi sento' by Paisiello

La Campanella for violin and piano (1826) from Violin Concerto No. 2, Op. 7

Cantabile for violin & piano/guitar in D major, Op. 17, MS 109

Fantasia on the G string (after Rossini's 'Mose in Egitto')

Violin Concerto No. 1 in D major, Op. 6


Ilya Gringolts (violin), Irina Ryumina (piano)

Lahti Symphony Orchestra, Osmo Vänskä

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Nicolo Paganini: Introduction and Variations on Nel cor piu non mi sento from Paisiello's La molinara, Op. 38, MS 44

Introduzione: Capriccio

Tema: Andante

Variation 1

Variation 2

Variation 3

Variation 4

Variation 5

Variation 6

Variation 7 - Coda

Nicolo Paganini: Violin Concerto No. 2 in B minor, Op. 7

Violin Concerto No. 2 in B minor, Op. 7: III. Rondo, "La Campanella" (arr. for violin and piano)

Nicolo Paganini: Cantabile in D major, Op. 17, MS 109

Cantabile in D major, Op. 17, MS 109 (arr. for violin and orchestra)

Nicolo Paganini: Introduction and Variations in F minor on Dal tuo stellato soglio from Rossini's Mose in Egitto, Op. 24, MS 23

Introduzione

Tema

Variation 1

Variation 2

Variation 3

Nicolo Paganini: Violin Concerto No. 1 in E flat major, Op. 6, MS 21

I. Allegro maestoso

II. Adagio espressivo

III. Rondo: Allegro spiritoso

Gramophone Classical Music Guide

2010

“Ilya Gringolts is an outstanding young Russian violinist; with this Paganini programme he began his recording career at the deep end. He's able to surmount the ferocious technical demands, and has, too, a notably rich, beautiful, unforced tone.
In the unaccompanied Nel cor più non mi sento Variations, he seems rather careful – missing the passionate directness that some bring to this piece. But Gringolts's more expansive and delicate account is equally valid, the theme, with its freely expressive ornamentation, especially appealing. The other shorter items work well, too, in particular the elegant Cantabile – originally for violin and guitar. Only La campanella is a bit disappointing: one feels the need for a more vigorous approach, and despite the finesse of the playing it's difficult not to regret the absence of the orchestra.
The First Concerto benefits from a truly outstanding accompaniment, performed (and recorded) with a wonderful sense of space and balance.
Even the bass drum and cymbal parts are played with sensitivity – what can sound like a crudely overloaded score emerges here full of colour and grandeur. With such fine orchestral sonority, one might wonder what the concerto would sound like in its original key. Paganini played it in E flat, by tuning his strings a semitone higher, and wrote the orchestral parts in the higher key; his aim was to produce a more brilliant, penetrating sound. Present- day soloists, understandably, prefer the standard tuning for such a demanding work.
Gringolts plays with sweetness or brilliance as required, though perhaps the first movement didn't need so many extreme tempo changes and perhaps the Adagio should have had a more dramatic tone, to match the darkly romantic orchestration. But the finale is terrific, with all the verve and high spirits you could want.”

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