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1534 Oleh Krysa: 100 Violin Show Pieces Vol. 4 - Shall We Dance?
[TNC CD 1534]
by Ivan Kovalets Date Added: Sep 12, 2012
In autumn of 2010 Oleh Krysa gave a concert in Kiev with a presentation of his CD ‘Shall we dance?’. Recently I bought that CD, listened again all those masterpieces and I’d like to express some thoughts about that remarkable recording.

While good recordings of the major violin classics – such as sonatas of Beethoven or Brahms appear regularly, I think it is quite difficult to find a collection such as ’100 violin showpieces’. At the same time many listeners feel lack of good recordings of such a small masterpieces which could approach the most wide audience and which could render great enjoyment to every listener.

One could imagine a huge work that should be carried out by performers in process of recording of such small pieces where feelings (and also technical difficulties) are so concentrated.
In one of his interviews Oleh Krysa said: “To play a miniature - is a complicated procedure, because each small composition is a jewelry piece that needs to be polished and it needs individual approach” (Vysokyi Zamok, (2010), translated from Ukrainian by I.K.).

Oleh Krysa coped with that work outstandingly. His ‘elegant and focused tone’ (The New York Times, 1990) is universally suitable to every piece in the album and it reveals singing abilities of the violin even in virtuosic works. Listen, for instance to the beginning of Russian Dance by Tchaikovsky. Despite many virtuosic passages in the beginning they sound more like singing. The rendition of the main theme is very tender, while the development comes to joyful Russian dance.

Completely another kind of piece: Ukrainian Hopak by Musorgsky. It’s character is defined by the Ukrainian word ‘Hop!’ which means something like ‘Hey!’. It combines improvisation and show of man’s power. Oleh Krysa manages to comprehensively express the character of that dance by only slight changes in sound of his violin and with his characteristic ‘pointed accentuation and emphatic articulation’ (The New York Times, 1990).

While listening the Album we meet nearly all kinds of moods and feelings. Besides ‘applied’ function of dance Maestro shows us abilities of dance to express a widest range of feelings: from sorrow in ‘Liebesleid’ by Fritz Kreisler to humor in ragtime ‘The Cascades’ by Scott Jopplin.

Generally it is worth to note that the program of the Album is compiled very tastefully. The nature of a dance is disclosed through pieces of romantic (Schubert, Wienawasky) as well as of the folk (Musorgsky, Hubay) and of the modern (Piazolla, Khachaturian) character. At the same time we see virtuosic works neighboring with compositions of the more lyric or more dramatic characters. Also note that the pieces in the Album represent wide geography. But the most important is that so different properties are coupled in a single program in such a way that it sounds more like single composition than as just a compilation of different pieces. That impression which I obtained at the abovementioned concert is confirmed again through listening of the CD. The same integrity is also a characteristic feature of all albums in a series of ‘100 showpieces’.

Finally I am sure that the ‘Shall we dance?’ CD as well as the other albums in the series ‘100 showpieces’ could bring real pleasure and inspiration to a widest audience due to really outstanding artistry of Oleh Krysa.

Rating: 5 of 5 Stars! [5 of 5 Stars!]
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Oleh Krysa on Violin and Tatiana Tchekina on Piano - SALE!
Oleh Krysa on Violin and Tatiana Tchekina on Piano - SALE!
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