Composer: Greatest
Performers: Zino Francescatti, Jascha Heifetz, Nathan Milstein, Ruggiero Ricci, Efrem Zimbalist, Fritz Kreisler, Isaac Stern, Mischa Elman, with various accompanists
Recording: 1926-1946
Label: PEARL GEM 0127 [75.21]
The collection “Violin Encores Pearl” stands as a testament to the dazzling lineage of violinists who shaped the 20th-century classical music landscape. Curated from a range of historical recordings—spanning from 1926 to 1946—this anthology features works that not only showcase the virtuosic prowess of the performers but also encapsulate the stylistic evolution of violin playing during this rich era. The repertoire includes beloved encores and popular pieces from composers like Wieniawski, Paganini, and Massenet, highlighting both the technical demands and the expressive capabilities of the violin.
The performances within this compilation are a masterclass in interpretation and technical execution. Zino Francescatti’s take on Wieniawski’s Etude-Caprice in A minor displays an effortless command of the instrument, his phrasing imbued with a natural lyricism that highlights the piece’s emotional core. Francescatti’s Tartini, arranged by himself, showcases not only his robust technique but also a supremely elegant approach to ornamentation—his subtle inflections breathe life into each note. In stark contrast, Nathan Milstein’s Wieniawski Scherzo Tarantelle presents a dazzling display of virtuosic flair, characterized by lightning-fast slides that are nothing short of exhilarating, yet his interpretative choices remain thoughtfully engaging rather than mere showmanship.
The collection also juxtaposes the interpretations of these violinists against one another, revealing their unique approaches. For instance, Efrem Zimbalist’s performance of Sarasate’s Carmen Fantasia offers a more restrained interpretation, lacking the theatricality that one might expect, particularly when placed alongside Heifetz’s electrifying rendition of the same piece, which is infused with dramatic intensity and a dazzling command of color. Zimbalist’s vibrato, while slower, provides a distinct tonal clarity that has its own merits, though it pales against the visceral excitement of Heifetz’s technicolor approach.
Ruggiero Ricci’s Burleska, accompanied by his own teacher Louis Persinger, is particularly noteworthy for its youthful exuberance—Ricci was only twenty at the time of recording, and his vibrant tone and expressive phrasing are indicative of a musician on the cusp of greatness. Meanwhile, Mischa Elman’s lush interpretation of Chopin’s Nocturne No 8, arranged by Wilhelmj, revels in rich portamenti, showcasing the romanticism that permeated recordings of the era.
The sound quality of this compilation is commendably preserved, with the engineering delivering clarity that allows each violinist’s distinct tonal qualities to shine through. Though some tracks, like Kreisler’s Liebesfreud from 1926, exhibit the occasional hiss, they do little to detract from the overall experience. The transfers are of high caliber, allowing listeners to appreciate the nuances of each performance, particularly the intricacies of Heifetz’s Paganini Caprice No. 24, where the dramatic incision and flexible rubato resonate with astonishing brilliance.
The juxtaposition of these legendary figures in the annals of violin performance creates an engaging narrative, revealing not only their individual artistry but also the collective evolution of violin playing in the early twentieth century. The diversity of interpretive choices—ranging from the flamboyance of Heifetz to the lyrical subtleties of Francescatti—offers listeners a rich tapestry of musical expression. This compilation is not merely a showcase of encores; it is a vital document reflecting the artistry and technical evolution of some of the greatest violinists of their time, making it an indispensable addition to the library of any serious classical music enthusiast.
