A memorable photo in my collection of
photos of violinists is one of Padraig O'Keeffe, an Irish folk
fiddler, clutching a bow and violin in one hand and a glass of
(probably Guinness) in the other. This was the tradition of European
folk fiddlers, at weddings, funerals, and village dances. I thought
nostalgically of the photo listening to Hagai Shaham
dispatching immaculately all 21 of Johannes Brahms' Hungarian Dances
(arranged by Joseph Joachim). The dances are well known and bear
repeated listening; Shaham's playing is superb, but this is
Israeli-type violin playing, with hyper-efficiency and little warmth
or human feeling. Going back to Joachim's (few) recordings, one
discovers a different world. I don't think Padraig O'Keeffe would
have warmed to Mr Shaham's playing, and the Hungarian village
committees would probably not have re-engaged him. The military
parade-ground feeling in Mr Shaham's recording is accentuated by the
short intervals between tracks; one dance follows immediately on the
previous.
After dance number 12, I had had enough
of Mr Shaham's brusque efficiency, and turned my attention to
alternative violinists who have recorded all the Dances: Marat
Bisengaliev (1994), Aaron Rosand (1991), Oscar Shumsky (1997) and
Baiba Skride (2010). I chose the Latvian Ms Skride, since I
like her playing but have not heard it for a while. She plays here
with her sister Lauma at the piano, and the two make a fine duo, with
lots of welcome rubato, and an ever-present warmth of feeling as if
they are enjoying making music together (which they probably were). Their enjoyment communicates itself in their playing.
Pretty well every violinist who has
ever lifted a bow has played and recorded a selection of these
dances. They are highly attractive pieces of music and well repay
repeated listening. In future, when I want to sit back and listen to
a few of them, I'll reach out for Baiba and Lauma.
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