The label has finally Romanian Intercont Music CDs devoted to the promising violinist Alexandru Tomescu. Two duet albums with pianist Horia Mihail.
Stradivarius Still (IMCD 1323) offers sixteen small pieces shaped bis. Agreed program? Not really. If Kreisler, Sarasate and Massenet's Meditation from Thais imperishable are in the program, there also Walk of Porumbescu, famous in Romania but unknown elsewhere. Tomescu illustrates this with infinite tenderness and occasionally virtuosic meditative piece, taking care to ring at the appropriate Stradivarius Elder-Voicu on which he is the custodian and it was a shame to let him sleep in a museum. The same qualities are found in the Meditation from Thais . Note the game with finesse Horia Mihail pianist, a partner in a directory so precious few rewards for the accompanist.
I always found and Liebeslied Kreisler Liebesfreud unbearable, and the art of the violinist, as clean as it is, fails to make me swerve; small annoyance fortunately tempered by the superb Dvořák Slavonic Dance, transcribed by the same Kreisler. Feelings identical with the famous Zapateado de Sarasate, where ever the pleasure of playing and listening is marred by technical constraints.
rarer: a Habanera of Capoianu , removed with a grace worthy of Stephane Grappelli and a transcript of the Adagio the Piano Suite in the Old Style of Enesco, Ark. dreamy and intense in this passionate vision.
This poster is complemented by Sibelius ( Humoresque No. 5 , very Belle Epoque) and four Russians. The
Gopak Mussorgsky is served with the savagery that suits his temperament, as opposed to the so conventional Vocalise by Rachmaninov that it may be preferable, all things considered, in a version with soprano. But the surprise comes mainly from the four Preludes of Shostakovich, the bittersweet and grimacing, close to that of the Power of Three Oranges by Prokofiev which closed the recital, while features sly rhythms and relentless.
Despite a presentation indigent - not the slightest notice, the CD back in the Romanian language only - one hopes that this card serves Tomescu's reputation beyond his country.
The second album is, quite demagogic, entitled Virtuoso Stradivarius (IMCD 1346). It is better designed than the first because with a manual. Alas, it is only Romanian. Thank you for the music lovers strangers!
These are pieces of larger (7 to 13 minutes for most). One may regret the choice of two pieces of syrupy Tchaikovsky (the waltz-scherzo op . 34 and third Sound of opus 42), composer also endearing, in contrast to enjoy the benefit of artists in the Introduction and Rondo Capriccioso by Camille Saint- Saens. The piece is not only played with bonhomie communicative, but with a thorough understanding of this work springs humorous, too often taken in a cavalier and beautifully rendered here. Thing obviously made possible by the impeccable technical mastery of the score, which is saying something.
Paganini is on the agenda, with Le Streghe (The Witches' Dance ) and Variations on one string on themes from Rossini's opera Moses . Should I confess to a profound lack of interest in this music dedicated solely to the virtuosity? I also limit myself to underline the dexterity of Tomescu, breathtaking, serving very little indeed. Much ado about nothing! In contrast, beneficial Pablo de Sarasate with his Gypsy Melody (Zigeunerweisen) op. 20, heartfelt tribute to laoutars Central Europe, but with no depth fake verve assumed. Full delivery of chic violinist, a little too quiet perhaps pianist struggling to be heard in her imitations of cimbalom the exuberant finale.
The two works complement Fortunately the Wieniawski Polish program. The beautiful Legend op. 17 mysterious accent develops noble cantilenas while Variations on an Original Theme, Op. 15 , playful and pyrotechnics, offer a pleasant conclusion to a recital welcome.
Welcome, certainly, but with an aftertaste somewhat mixed, Alexandru Tomescu is a violinist of great talent, it seems certain, but competition is now so high that we can not say if these few pieces of uneven interest will suffice for its recognition. It can only encourage talent agents to propose a directory to the last measure of his art: the sonatas, the great concertos, not only classical and romantic but a century away too. And since we are talking about an artist Carpathians when Tomescu in Caprice Romanian George Enescu ?
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