Renaud Capuçon, and Pablo de Sarasate

Along with Joseph Joachim, Pablo de Sarasate was probably the most influential violinist of the second half of the nineteenth century. Edouard Lalo's Symphonie Espagnole was dedicated to him, as was Max Bruch's Scottish Fantasy (and Sarasate also played the Bruch G minor concerto). From accounts – and from the handful of recordings he made towards the end of his life – his playing was suave and sophisticated and a long way from what I term the modern Russian-Israeli-Juilliard style of playing, with its emphasis on power and heft. Sarasate was an elegant player.

I was reminded of this listening to a new CD from Renaud Capuçon. Suave, sophisticated and elegant, yes; Capuçon is also a very fine violinist. On this new CD he plays the Lalo Symphonie, as well as Sarasate's Zigeunerweisen, and Max Bruch's G minor violin concerto. I had expected to enjoy the Lalo and the Sarasate, since Capuçon's playing fits them like a glove. And I certainly did. I had a few less hopes of that old warhorse, the Bruch G minor, that is usually belted out with maxi-macho violin playing, soaring and swooning. Listening to Capuçon, I was reminded of the Sarasate connection, and also of Jascha Heifetz, who also had a supreme level of sophistication in his playing. I actually enjoyed Capuçon's elegant approach to the Bruch, and gave it three stars. A fine CD, helped by Capuçon's fleet tempi and refusal to wallow.