This is an excellent bit of programming that wouldn't occur to just anybody; George Enescu's Violin Sonata No. 2/6 of 1899 paired with three mid-twentieth century works by Polish virtuoso Grazyna Bacewicz. Although differing in background, nationality, and timeframe, Enescu and Bacewicz share an interest in the French approach, the young Enescu in the post-romantic style of Franck, colored to some extent with Brahms' slippery chromaticism, and Bacewicz with the neo-classicists of Les Six, though tempered with a more ...
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This is an excellent bit of programming that wouldn't occur to just anybody; George Enescu's Violin Sonata No. 2/6 of 1899 paired with three mid-twentieth century works by Polish virtuoso Grazyna Bacewicz. Although differing in background, nationality, and timeframe, Enescu and Bacewicz share an interest in the French approach, the young Enescu in the post-romantic style of Franck, colored to some extent with Brahms' slippery chromaticism, and Bacewicz with the neo-classicists of Les Six, though tempered with a more muscular, Bartókian edge. None of these works is unique on recordings, and both Enescu's sonata and Bacewicz' partita are relatively well-known pieces recorded a number of times. What is unique about them is Lydia Mordkovitch interpretation of them, which is electrically dynamic in fast movements and searingly emotional in the slower ones. Admittedly the fast stuff is what takes the cake; Mordkovitch intense, driving reading of the Scherzo Vivo from Bacewicz's Violin Sonata No. 3 is on...
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