Ilya Gringolts is one sensational violinist. From a purely technical point of view, the playing on offer here is nothing short of astounding. The performance of Prokofiev’s First Concerto is as fine as any available, with a central scherzo offering the last word in virtuosity and, in the slow outer movements, a sensitivity to accent and phrasing that constantly engages the ear. You won’t find a more satisfying account of the finale anywhere, not even by [insert name of long-dead “golden age” legend]. It’s that good. The Sibelius also is very distinctive, but it probably will strike most listeners as the more controversial of the two concerto interpretations.
Certainly the opening movement offers little cause for complaint. Gringolts takes an unusually direct approach, keeping the tempo steady even in the huge central cadenza, where many players tend to slow down. In this he recalls Heifetz (who is faster still), and the movement’s conclusion is thrilling, with Neeme Järvi knowing exactly what to do to keep the orchestra at high boil without covering the soloist. The Adagio is passionate and very beautifully phrased, the tempo gravely contemplative, with an especially poetic coda after the big climax.
Gringolts and Järvi make the finale sound very Russian, taking a moderate tempo and indulging some heavy-handed phrasing of the opening theme (indeed, it sounds almost like Prokofiev). I personally prefer a swifter pace and a lighter touch, but on the other hand you can hear not just every note, but also the fact that Gringolts is playing each of them perfectly, which is no mean achievement. In the four Humoresques, Gringolts is a model of sensitivity and introspection, and these pieces make excellent fillers. Well balanced, vivid sound complements a release that violin fans surely will enjoy, one that confirms Gringolts’ growing reputation as a hot virtuoso who’s much more than just a hot virtuoso.
