Pinchas Zukerman, English Chamber Ensemble Antonio Vivaldi: Violin Concerto in C major, RV 187; Violin Concerto in D major, RV 209 Johann Sebastian Bach: Violin Concerto in A minor, BWV 1041; Violin Concerto in E major, BWV 1042; Double Violin Concerto in D minor, BWV; 1043; Harpsichord Concerto in D minor, BWV 1052 (arranged for violin) Recorded: 1990 (Bach), 1992 (Vivaldi) Label: RCA Red Seal 74321 68002 (Remastered edition) Duration: 77:32 — There’s something curious about hearing Vivaldi’s concertos under Zukerman’s bow—this isn’t baroque austerity or a scrupulous period-instrument affair. Rather, it’s a lush, full-bodied modern take, shimmering with a post-romantic gleam. The violin sings with a warm, almost creamy vibrato, a sound that some would find at odds with the spirit of RV 187 and RV 209.
Yet, Zukerman’s approach—clear, poised, but never too lean—invites listeners to appreciate these works on their own surface terms, free from the often sharp edges of historical reconstruction. The English Chamber Orchestra here is predictably polished, if occasionally too deferential. The solo violin floats at the front of the sonic stage, sometimes so prominent that the orchestra barely breathes beneath it.
The warm acoustics of the concert hall seem to breathe through the recording.
In the energetic first movement of the Violin Concerto in C major, the tutti passages thrum — with vitality but feel slightly dwarfed, like a stage light turned too bright on the soloist. It’s a matter of balance—a fine line between star soloist and — well — ensemble partner—and Zukerman’s placement errs just a shade toward the former. Tempo choices are judicious and idiomatic, neither rushed nor ponderous.
In RV 209’s lilting second movement, there’s a tender, almost lyrical quality that suits Zukerman’s warm tone well. His articulation is clean, though occasionally he smooths over the rhythmic zest that Vivaldi’s fast runs crave. One misses a touch of the rustic, vivacious energy that period instruments coax from — these concertos, but the sound here remains inviting, a velvet glove on Vivaldi’s guileless hand.
The Bach works, recorded two years earlier, provide a revealing counterpoint. The violin concertos in A minor and E major are delivered with a refined elegance, the phrasing shaped with; a careful respect for Baroque rhetoric, if not always the sharp edges of articulation that historically informed execution demands. The Double Violin Concerto is a highlight, thanks to Jose-Luis Garcia’s nearly indistinguishable partnership with Zukerman.
Their lines entwine with an admirable blend—neither soloist dominating—and one can almost imagine Bach himself smiling at such egalitarian dialogue. The harpsichord concerto transcribed for violin is particularly delightful, Zukerman’s playing nimble, alert, and refreshingly unburdened by the weight of over-interpretation. Sonically, the remastering has done good work.
There’s clarity and presence throughout, with well-defined string textures and a pleasing spatial dimension in the orchestral tuttis. Yet, the production sometimes feels slightly ‘polished’ to the point of losing some immediacy. The violin’s tone—full, rich, occasionally a little too opulent—is captured with an intimacy that sometimes borders on indulgence.
A minor quibble: the booklet’s choice of patterned grey paper is puzzling and makes the informative notes harder to read than necessary—a small but irritating distraction from the otherwise generous program. In sum, this reissue offers a portrait of Zukerman at a mature peak: a violinist with impeccable artistry and a warm, embracing tone, but one who occasionally sacrifices period style for personal expressiveness. For those seeking a vivid, richly voiced rendition of these Vivaldi and Bach concertos—free from the austerity of hipster baroque—this collection will satisfy admirers of lush modern violin playing.
But if you crave the crisp, biting edges and leaner textures that early music specialists prize, look elsewhere. Still, the artistry is undeniable. Zukerman’s performances serve as a reminder that music, even from the 18th century, can wear a contemporary face and still speak compellingly across the centuries.
A worthwhile listen, then, with moments of genuine musical charm — if not quite the historically informed benchmark.
