Coleridge-Taylor and Dvořák Violin Concertos album review – shrewd pairing, with Gill Shaham fluid and imposing

Shaham/Virginia Symphony Orchestra/Jacobsen
(Canary Classics)
The US violinist’s plush tone and laser-focused intonation enriches the solo line in these two violin concertos, with the Virginia Symphony light on its feet

Pairing Samuel Coleridge-Taylor with his musical idol Dvořák is a shrewd idea. The British composer, of Sierra Leonean heritage, usually finds his Violin Concerto coupled with a little-known English work. Here, juxtaposed with one of the 19th century’s most popular concertos, it more than holds its own.

Coleridge-Taylor’s concerto premiered in Connecticut in 1912 (despite the original parts going down with the Titanic). Although he doesn’t quote actual spirituals, the harmonies and melodic contours are reminiscent of African folk music. Gil Shaham has the measure of the work, his plush tone and laser-focused intonation enriching the solo line in a generally more sumptuous performance than most rival recordings. Eric Jacobsen and the excellent Virginia Symphony Orchestra ensure the accompaniments remain sufficiently light on their feet.
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