lthough his recordings are pristine and show the utmost technical ability, Gil Shaham’s live performance last week showed the true artistry and character of a young but seasoned performer.

The concert marked Shaham’s Salt Lake City debut last week at Libby Gardner Hall. The world-renowned violinist provided the audience with a diverse concertgoing experience. With accompanist Akira Eguchi on hand, Shaham’s recital ranged from the German baroque of Bach to the French Romanticism of Gabriel Fauré to the Neo-Classical Americanism of Aaron Copland.

Among modern works, Shaham recorded Arvo Pärt’s “Tabula Rasa” and “Fratres III.” Among the many classic recordings is a Brahms album with Claudio Abbado and the Berlin Philharmonic.

The standout performance was that of the Bach Partita No. 2 in D Minor for Solo Violin. Played often by the superstars in the violin world, this Partita has become the culminating, coming-of-age piece that enables the artist to display not only his or her technical prowess but also incredible tone and lyricism. Such was the case of Shaham’s performance.

Shaham easily managed the constant use of double and triple stops—and at times all four strings—while maintaining the melodious line and shape of the piece. The beautiful moment was in the Ciaconna. This movement displayed Shaham’s ability to produce a clear and lyrical tone amid such difficult shifts between harmonies.

A surprising point in the concert was the Sonata in G Minor by Copland. This complex work sounded easy at Shaham’s hands. Shaham moved through each movement, displaying a spectral glance at so many moods and colors. Interestingly enough, the last movement was a combination of all of the moods displayed in the opening two movements. Shaham’s shift between the quasi-romantic melody and the angular and juxtaposed rhythms was stupendous.

The recital was representative of the diverse background of Shaham’s training. Born in Champaign, Ill., and later raised in Israel, Shaham studied with noted violinists such as Haim Taub and Dorothy DeLay. Eventually, Shaham returned to the United States as a scholarship student at Juilliard.

He has continued to impress critics worldwide as both a performing and recording artist. In 1999, Shaham won a Grammy for his 1998 recital album, “American Scenes” with André Previn (noted conductor, pianist and composer) at the piano. He has released a wide array of albums that run the gamut from the classics to moderns.

Although the concert was rather exciting and provided a diverse repertoire, the last half became rather boring. The display of talent and beautiful playing was still there, but one can only handle so much Fauré. A whole second half of Fauré wasn’t the best programming choice. Although Fauré’s music captivates the beauty of the French romantic sound, it lacks the substance and imagination that Shaham displayed in the first half the concert.

But, if one is all about “pretty” music, it was a perfect ending to a near-perfect concert.
christian@red-mag.com