Ilya Gringolts has something to offer to listeners in the notes as well as in his performances . . . Gringolts manages to combine Oistrakh's mystical intensity, especially to the outer movements, with Szigeti's caustic asperity . . . He makes bold gestures with plenty of tonal resources to spare, never crossing over into either indulgent warmth or rough edginess.
Gringolts speaks of the magical moments a soloist experiences after the sound of the last movement dies away. His own reading of that final page serves as a transcendental explication of his remarks . . . His readings, by turns fey and ardent, make these pieces out to be miniatures collectively of rather more importance than they've generally been taken to be by other performers . . .
Ilya Gringolts seems to be one of the handful of violinists of the younger generation who takes risks to personalize what he plays -- and generally succeeds. His musical intelligence makes as strong an impression as does his technical preparedness . . . Strongly recommended.
Gringolts speaks of the magical moments a soloist experiences after the sound of the last movement dies away. His own reading of that final page serves as a transcendental explication of his remarks . . . His readings, by turns fey and ardent, make these pieces out to be miniatures collectively of rather more importance than they've generally been taken to be by other performers . . .
Ilya Gringolts seems to be one of the handful of violinists of the younger generation who takes risks to personalize what he plays -- and generally succeeds. His musical intelligence makes as strong an impression as does his technical preparedness . . . Strongly recommended.
--Robert Maxham, Fanfare, 01 November 2004
MP3 320 · 150 MB
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