Description
For her first "Classical Album" the hyper-successful crossover violinist Vanessa-Mae has chosen to perform solid German repertoire--perhaps as a way of saying "my pop discs may have sold millions, but I can still cut the classical mustard". And cut it she mostly does, though not in the first item, Bach's Solo Partita No. 3 in E. This w
For her first "Classical Album" the hyper-successful crossover violinist Vanessa-Mae has chosen to perform solid German repertoire--perhaps as a way of saying "my pop discs may have sold millions, but I can still cut the classical mustard". And cut it she mostly does, though not in the first item, Bach's Solo Partita No. 3 in E. This work requires more than a phenomenal technique and a good ear for phrasing. Vanessa-Mae treats it rather like an exercise, which is fine in its way but fails to deliver any new insights into this profound piece. She shows more of her mettle in Brahms's Scherzo in C minor, however, to which she brings an adolescent sense of angst and torment which neatly suits the music. The Beethoven Romance is adequate, but the pièce de résistance of the album is most definitely Bruch's Scottish Fantasy. Here Vanessa-Mae comes into her own, and responds with charm and skittish playfulness to the composer's cod Highlandisms. The London Symphony Orchestra accompanies her with luscious warmth, and the overall effect--if not exactly subtle--is no more exaggerated than Bruch's original conception of the piece. --Warwick Thompson
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