The Red Violin

Album review

Maria Bachmann distinguished herself with two very fine recitals on BMG's Catalyst label back in the 1990s, but was little heard from on record in years afterward. She has kept busy in the meantime with her Trio Solisti, as director of the Telluride Musicfest, and in other pursuits; a trio Bachmann commissioned from composer Paul Moravec for Trio Solisti ended up winning the Pulitzer Prize for music composition in 2004. Three excellent short pieces by Moravec are among the highlights on Bachmann's Endeavor Classics disc, Maria Bachmann: The Red Violin, which marks her return to the spotlight on disc after a long period spent recording in the context of ensembles or playing second fiddle to composers. As in the earlier Catalyst releases, Bachmann is joined by Jon Klibonoff, her duo partner and pianist in the Trio Solisti. The musical bond between the two was always scintillating, but here it is further seasoned by the long amount of time they have spent playing together; at this point, their musical materiality is positively paranormal. The centerpiece of this album is naturally John Corigliano's The Red Violin Chaconne -- Bachmann has played both this piece and the concerto known as "The Red Violin," and Corigliano himself recognizes her interpretation as authoritative. While all of the works here are played very well, the Copland pieces are a standout; Ukulele Lullaby comes off comic as it should, but is devoid of the usual cuteness and makes you hear this piece in a new way. Copland's Nocturne begins as though far off in the distance and patiently takes its time to reveal itself as the big and bold conception that Bachmann and Klibonoff have forged out of it. To be able to take the familiar and make it sound as though it's being played for the first time is the mark of genuine artistry, and Endeavor Classics' Maria Bachmann: The Red Violin is certainly a welcome comeback for this talented pair.
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