Grappelli, Brahms, Dvorak, Buarque, Wieniawski, Ravel, Portal, Piazzola, Albeniz, Tchaikovsky, Francescatti, Falla, Lenoir and Charles

The borderlines between 19th-century virtuosity and café music are distinctly blurred in this highly entertaining disc. Laurent Korcia has all the technical bravado and interpretative charisma to breathe new life into such tried and tested violin warhorses as Wieniawski’s D major Polonaise, Tchaikovsky’s Valse-Scherzo and the Kreisler arrangement of Falla’s Danse espagnole. He turns on the seductive charm for Albéniz’s Tango and spins a suitably languorous melodic line in Ravel’s Pièce en forme de habanera. But Korcia

Our rating

5

Published: January 20, 2012 at 3:54 pm

COMPOSERS: Albeniz,Brahms,Buarque,Dvorak,Falla,Francescatti,Grappelli,Lenoir and Charles,Piazzola,Portal,Ravel,Tchaikovsky,Wieniawski
LABELS: NAIVE
ALBUM TITLE: Danses
WORKS: Violin works
PERFORMER: Laurent Korcia, Jean Efflam Bavouzet, Michel Portal, Cyril Dupuy, Gergana Terziyska, Julie Depardieu etc
CATALOGUE NO: V 4978

The borderlines between 19th-century

virtuosity and café music are distinctly

blurred in this highly entertaining disc.

Laurent Korcia has all the technical

bravado and interpretative charisma

to breathe new life into such tried and

tested violin warhorses as Wieniawski’s

D major Polonaise, Tchaikovsky’s

Valse-Scherzo and the Kreisler

arrangement of Falla’s Danse espagnole.

He turns on the seductive charm for

Albéniz’s Tango and spins a suitably

languorous melodic line in Ravel’s

Pièce en forme de habanera. But Korcia

also has a natural affinity with more

overtly popular idioms, delivering

wonderfully fluid renditions of

Stéphane Grappelli’s Les valseuses and

Piazzola’s Café 1930. He provides an

equally irresistible backdrop for the

final item on the disc featuring the

captivating Julie Depardieu in the

chanson La villette.

The programme cunningly

juxtaposes items featuring the usual

combination of violin and piano

with more varied and imaginative

instrumental accompaniments, none

more striking than the combination

of double bass and cimbalom which

brings an extra ounce of paprika to

the violinist’s brilliant arrangements

of a sequence of Brahms’s Hungarian

Dances. Fifty-two minutes may seem

a little short for a recital disc, but

with playing and a recording of this

distinction, nobody should really

complain. Erik Levi

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