Composer: John Williams
Works: Treesong (2000), Concerto for Violin and Orchestra (1974-76, rev. 1998), Three Pieces from “Schindler’s List” (1993)
Performers: Gil Shaham, Violin; Boston Symphony Orchestra
Recording: Boston Symphony Hall, USA, 1999-2000
Label: Deutsche Grammophon (DG CD 471 326-2)
John Williams, a name synonymous with cinematic mastery, has also carved a significant niche within the concert hall. His work, “Treesong,” composed in 2000, is an intriguing exploration of the intersection between nature and music, evoking the beauty of a rare Chinese Dawn Redwood tree that inspired its creation. This piece not only reflects Williams’ longstanding relationship with the Boston Public Garden but also symbolizes a deeper connection to the natural world, one that resonates throughout his oeuvre. The recording features Gil Shaham, one of today’s foremost violinists, whose artistry breathes life into Williams’ intricate textures.
Shaham’s performance throughout “Treesong” is marked by an exceptional clarity of tone and an expressive phrasing that captures the essence of the work. The first movement, “Doctor Hu and the Metasequoia,” unfolds like a gentle breeze, with Shaham’s violin line weaving gracefully through the orchestral haze. Here, the violins and woodwinds create a shimmering backdrop that evokes the stillness of a forest canopy. Williams’ orchestration, rich in color and nuance, transports the listener to a serene woodland setting, and Shaham’s ability to slice through this texture with crystalline precision enhances the ethereal quality of the movement.
The second movement, “Trunks, Branches and Leaves,” presents a vivid contrast. Its brisk tempo and energetic orchestration depict the dynamic growth of the tree, allowing the orchestra to take on a more pronounced role. Shaham’s virtuosic passages are deftly interlaced with the orchestra, illustrating the tree’s complexity. This interplay of soloist and ensemble demonstrates Williams’ masterful ability to balance individual expression with orchestral color. The lyrical cadenza between the second and third movements serves as a poignant transition, showcasing Shaham’s lyrical prowess before the final movement, “The Tree Sings,” which introduces a greater richness and depth, both in the soloist’s interpretation and the orchestration.
Williams’ “Concerto for Violin and Orchestra” stands in stark contrast to “Treesong,” reflecting a more traditional 20th-century idiom. The influences of Bartók, Prokofiev, and Walton are palpable, with complex rhythms and harmonies that demand both technical skill and interpretative depth. Shaham’s performance here is nothing short of brilliant; he navigates the challenging passages with remarkable intonation and an innate musicality that elevates the work beyond mere technical display. The contemplative second movement, marked “Slowly (in peaceful contemplation),” reveals a reflective quality, while the finale, characterized by its brisk tempo and articulate phrasing, showcases Shaham’s virtuosity and interpretive insight.
The inclusion of “Three Pieces from Schindler’s List” serves as a poignant conclusion to the recording. The haunting melodies of this suite resonate deeply, not only reflecting Williams’ film music legacy but also reaffirming his ability to convey profound emotion through simplicity. Shaham’s tone is richly expressive, drawing the listener into the stark realities portrayed through Williams’ music, and highlighting the violin’s capacity for narrative.
The engineering quality of this recording deserves mention; the sound is clear and well-balanced, capturing the nuances of both the soloist and the orchestra. The acoustic of Boston Symphony Hall enhances the overall richness of the performance, allowing for a full-bodied sound that draws the listener into the concert experience.
This collaboration between Gil Shaham and John Williams, under the aegis of the Boston Symphony Orchestra, emerges as a significant contribution to the contemporary violin repertoire. The performances contained within this disc not only exhibit technical brilliance but also a profound musicality that resonates at every level. As such, “Treesong” and the accompanying works not only stand as testament to Williams’ innovative spirit but also anchor his legacy within the classical tradition. Such artistry, coupled with the evocative nature of the compositions, solidifies this recording as essential listening for both aficionados of orchestral music and those seeking to understand the evolution of the concert violin repertoire in the 21st century.
