The liner notes for violinist Giora Schmidt's CD Vocalise asserts that the album gets its name from the song-like movements found in each of the pieces on the program. This concept seems like an enjoyable way to tie together varying pieces of music on a single program and works brilliantly for Schmidt with one exception -- the Vivaldi A major Sonata. Schmidt's playing throughout the Vivaldi is simply too forced, aggressive, and romanticized. If the third-movement Adagio is supposed to be the "song," Schmidt plays it as if ...
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The liner notes for violinist Giora Schmidt's CD Vocalise asserts that the album gets its name from the song-like movements found in each of the pieces on the program. This concept seems like an enjoyable way to tie together varying pieces of music on a single program and works brilliantly for Schmidt with one exception -- the Vivaldi A major Sonata. Schmidt's playing throughout the Vivaldi is simply too forced, aggressive, and romanticized. If the third-movement Adagio is supposed to be the "song," Schmidt plays it as if he's shouting instead of singing. The problems with the album end there as the remainder of the works are nineteenth and twentieth century compositions that benefit from the fullness and robustness of Schmidt's playing. De Falla's Suite Populaire Espagnole is quite fiery and appropriately stylized and American composer Philip Lasser's Vocalise is indeed quite song-like, and listeners are treated to a warm, velvety violin sound filled with nuances of color and dynamics. Franck's A...
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