Mendelssohn - Violin Concerto
Mozart - Adagio & Rondo
Schubert - Song transcriptions
MacMillan - From Ayrshire

Benedetti; Academy of St Martin in the Field / MacMillan
DG 476 3159

Release date May 2006

Scotland’s media recently reported that Nicola Benedetti had expressed a wish to be viewed as a serious classical musician, and had strongly objected to critics’ suggestions that her lucrative recording contract with Deutsche Grammophon was a result of qualities other than musical talent. The conflict between her ambition to be a respected soloist and the record company’s equally valid aim to take full advantage of her marketing potential is apparent in this latest disc, which attempts universal appeal with a programme containing standard violin repertoire, a new commission and arrangements of popular classics. James MacMillan’s From Ayrshire, which was composed for Benedetti, is by far the most striking feature of the CD. Reminiscent of After the Tryst, another of MacMillan’s violin miniatures, the cadenza-like first movement experiments with expressive glissandi, ethereal octaves and pensive harmonics, displaying the wide range of colour available to the violinist. The orchestral accompaniment is perfectly created to complement the violin part, with a combination of sustained chords, impressionistic effects and intense brass leading to the emotional climax. The contrasting second movement is an opportunity for the violinist to display her technical prowess with its mixture of relentless semiquavers and gutsy dissonant double-stops. Benedetti’s poise and timing are perfectly judged in both movements. She manages to create an atmosphere of poignancy and intensity whilst ensuring that the music does not become laboured. Her variety of bow strokes and vibrato shows imagination and maturity. Benedetti’s Mendelssohn also displays her technical maturity, particularly in the finale, which is full of vitality. Adhering to convention her sound is brimming with warmth, but her consistently fast vibrato and seeming reluctance to take time over any of the more melodic passages does result in a slightly frantic performance. One can only applaud Benedetti’s courage in her choice of such well-known repertoire. Although she has not as yet produced a recording to challenge the best available, her version is certainly worth hearing.

Heather Kennedy