John Corigliano belongs to that growing number of American composers who are building bridges to reach the vast number of concert-goers who have become disaffected by radical modern music. Tonal, lyric and immediately attractive, he still prods harmonies in new directions while keeping his roots in the style of Copland and Barber. Born in New York City in 1938, the son of the New York Philharmonic Orchestra’s concertmaster, his works have received a catalogue of major awards, the 1997 Academy Award winning film score for The Red Violin being a fertile source for his later concert works. I find the Caprices one of the most exciting solo violin scores since the days of Paganini, their outgoing virtuosity presenting a considerable display of technical virtuosity. The Chaconne also exists in a version with orchestral accompaniment, and has already received a stunning performance on a Naxos disc from Chloe Hanslip.The Violin Sonata from 1963 is one of Corigliano’s earliest recognised works, and I also hear something of Bernstein in rhythms that titillate the ear. In four movements with its underlying sadness in the Lento, the toccata-like finale is a powerhouse of left-hand dexterity. I guess that the fine pianist, Nina Tichman, does not play much American jazz, a requisite mood in the opening movement, but throughout the violinist, Ida Bieler, has the technical equipment to deal with the fiendish difficulties that Corigliano poses, here intonation in the centre of every note. Rather strangely Naxos already have a sensational recording of the Sonata and the Chaconne from the Russian-born Philippe Quint, which the composer has justifiably described as ‘absolutely amazing’, his Stradivari violin glistening with an incandescent range of brilliant colours. Coupling may be your deciding factor, the fabulous Quint having music by Virgil Thomson, while this all Corigliano release includes Tichman’s desirable account of the substantial Fantasia on an Ostinato.

 

 

David Denton
David's Review Corner, January 2009