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RODE, P.: 24 Caprices for Solo Violin (A. Strauss)

Composer(s):Rode, Pierre
Artist(s) Strauss, Axel, violin
Period(s) Classical (1750-1830)
Genre Classical Music
Category Instrumental
Catalogue 8.570958
Label Naxos
Quality   320kbps
Album Price
 
CD
USD 9.99
 

 
MP3
USD 6.99
 

 


The first German artist to win the international Naumburg Violin Award in New York, Axel Strauss was acclaimed for his recording of Mendelssohn’s Songs Without Words (8.570213) as ‘an excellent violinist who plays these with wit and verve’. On this disc he revels in the virtuosic and expressive opportunities offered by Pierre Rode’s 24 Caprices, which preceded those of Paganini by several years. Rode’s Violin Concertos Nos. 7, 10 and 13, performed by Friedemann Eichhorn, are also available in the 19th Century Violinist Composers series (8.570469).


   




Review By Robert Maxham ,Fanfare,May 2010

In the days before Suzuki’s method swept almost everything before it, making way for a brave new world in which violinists moved through limited numbers of pieces to full concertos, virtually bypassing technical études, students customarily took a different road to the summit. That one, well worn through the ages, passed through the foothills of Rodolphe Kreutzer’s 40 (or 42), ascending arduously by way of Federigo Fiorillo’s 36 to Pierre Rode’s 24 before mounting to the pinnacle of Paganini’s almost unattainable 24. In those days, students even stopped to study a concerto or two by Viotti, Kreutzer, Rode, or Spohr before tackling standard repertoire. To those students, Rode’s caprices represented welcome relief from studies focused each

Now Axel Strauss has entered the lists with a recording that will make the works readily and inexpensively available to violinists—teachers and students and professionals most obviously, perhaps—but also, because of their musical merit, to general listeners as well. And from his commanding opening of the First Caprice, it’s clear that the value of his approach should be enormous; for from the work, devoted, like Kreutzer’s Sixth Étude, largely to staccato, he draws a musical line if not so cogent as those that Bach imbedded in his leaping melodies, at least recognizable and captivating to a musical sensibility. His tone on the 1845 Pressenda on which he plays displays a variety of timbres that also brings the study closer to a character piece than to a technical exercise. The Second Caprice, with its octaves and string crossings, sounds more dazzling, while Strauss spins long-breathed patterns from the Third’s perpetual-motion-like legato 16th notes. And he dispels any doubt about the Romantic sensibilities of these caprices in the Fourth’s Allegro, which, though regular in its patterns, strikes the listener with the force of a gale wind. In Strauss’s reading, the Fifth, though brilliant, continues the dark mood of the Fourth (every traditional student, though perhaps not yet capable of Strauss’s tempestuous assaults, should have felt the exhilaration of playing real, portentous music—perhaps for the first time—when tackling this study). The Sixth opens with cantilena on the G string, of which Strauss takes optimum advantage, playing the 16th notes that bring the introduction to a close with yearning sensitivity. Compmore....

Review By ,www.klassik.com,January 2010

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