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Polish composer Karol Szymanowski was born in 1882 and died in 1937. As Ibragimova's latest disc demonstrates, his early music is influenced by the likes of Scriabin, Wagner and Reger. As time goes on, other influences creep in such as Sufism, the Orient and musical Impressionism, with dance rhythms a pre-occupation throughout his life. Ibragimova's programme, although not in date order, is fascinating for its demonstration of this musical journey. The former influences pop up in the Opus 9 Violin Sonata in D minor of 1904. By Mythes (Op 30) of 1915, the Orient is well and truly at the forefront of his musical thought. Fast forward a further ten years to the Op.52 Berceuse of 1925 and, whilst similar influences are at work, they're presented more starkly, set within an unsettling tonality that creates an air of unease.
What is immediately striking about Ibragimova's playing is her formidable technique. The outer two movements of Mythes are particularly demanding for the violinist, jam-packed as they are with glissandi, double stops and lightening melodic runs. Ibragimova glides through them as though she were playing Twinkle Twinkle Little Star, with plenty of headspace left over to suffuse the melodic lines with spark, fire, and sweet warmth. Technical prowess aside, it's these other qualities that she brings to the music that are what give her performances of the Tarantella its zest and the Romance in D its lyricism. C�dric Tiberghien, a concert soloist in his own right, accompanies Ibragimova in an intuitive and expressive reading of both the music and the required relationship between the instruments. --Charlotte Gardner
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Customer Reviews
While the voice of the violin is usually dominant, the role of the piano of Cedric Tiberghien is no less exalted and is rendered with poetry and power.
The notes to this release by Francis Pott are detailed and informative of this mysterious composer and rank with the very best. The engineering is superb, with a sound quality that reveals every texture of these other-worldly explosions of the imagination in all their vivid colors and sumptuousness, with whatever clarity or haze the composer is summoning.
The attractive cover art, "Water Nymph" by Otto Theodor Gustav Lingner (1856-1917), as fetching as it is, does not begin to capture the ecstasies within. All the music is inspired and goes more deeply into territories first hinted at in Chopin's nocturnes and then initially explored by Scriabin and Debussy.
I have not been so mesmerized by a recording since hearing for the first time the Tchaikovsky violin concerto (played by Heifetz) on my grandparents' 78s.
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