Cleveland
Museum of Art
February
6
Giving well-known works a fresh sound. |
Last
week this column noted the pleasure of hearing a great player like
Jeremy Denk paired with a really fine Steinway. This, however, turned
out to be just a warm-up for an even more refined combination at the
Cleveland Museum of Art two nights later: Gil Shaham playing his 1699
Stradivarius.
The
sound – warm, golden, positively shimmering in its intensity – is
only one of the reasons the virtuoso violinist packs concert halls
around the world, even (and maybe especially) when he is performing
solo. Shaham’s near-flawless playing, brilliant technique and gift
for expression place him among the best in his profession, a status
which has given him license to explore and expand the violin
repertoire. He has, for example, almost single-handedly resurrected
Erich Korngold’s neglected Violin Concerto in D major on the
concert circuit.
This
month Shaham is revisiting Bach’s works for solo violin in a series
of recitals throughout the U.S. and Europe. Once relegated to
teaching exercises, the three sonatas and three partitas have
reemerged as technical tours de force that offer rich opportunities
for interpretation. Which puts them right in Shaham’s wheelhouse.
From
the opening notes of Sonata No. 2, Shaham offered a reminder
of one of the key characteristics of his work – his ability to make
the music sound fresh. His crisp sound and attention to detail put a
bite in Bach, and his evocation of the sonata's polyphonic effects
took it to a new level, particularly in the second movement. Shaham
played it so that the notes interlocked, turning the melody into a
mosaic of sound that seemed to come from multiple voices rather than
just one instrument. The closing Allegro gave him an opportunity to
reel off some dazzling runs in his inimitable style –
lightning-fast without missing a single note, played with exquisite
fluidity and grace.
One
might quibble with Shaham’s tempo, which is far from the stately
pace that has long been the Baroque standard. At times, it seems
designed mostly to showcase his eye-popping playing skills. But the
trade-off is that the music takes on a new vibrancy, particularly
evident in the Partita No. 2. It sounded charged with
electricity in Shaham’s hands, and razor-sharp in his control of
ultrafine ornamentation and the daunting complexities of the Corrente
and Giga.
Shaham
paused for just a second before diving into the concluding Chaconne,
starting with a measured tempo and tone that managed to sound both
sad and grand at once. It faltered a bit before picking up speed and
confidence through the incredible rush of figures and variations,
which Shaham blazed through and brought to an achingly beautiful
finish.
After
intermission, Shaham set a torrid pace with Sonata No. 3, once
again building a sonic structure that seemed impossible to come from
a single instrument. His command of the piece is such that he can fly
through the technical challenges and concentrate on expression – in
this case, an unbridled joy that captures both the secular and
spiritual dimensions of the work. He gave it lighter emotional weight
than the first two selections, finessing dense passages, adding
playful ornamentation and finishing the concert on a bright, cheery
note.
Though
it all, the violin was like a second musician onstage, singing,
laughing and crying in lush, tender tones. No one combines such
sophisticated interpretation with technical virtuosity as well as
Shaham, who turns every performance into high art.
For
more on Gil Shaham: http://www.gilshaham.com/
To
hear him play the Chaconne from Partita No. 2:
http://www.youtube.com/watch?v=jMrLnjp1O_g
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