The Classical Album 1 / Vanessa-Mae
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Music CD Cover
Composer: Johann Sebastian BachComposer: Ludwig van Beethoven
Performer: Ludwig van Beethoven
Composer: Johannes Brahms
Conductor: Johannes Brahms
Composer: Max Bruch
Performer: Max Bruch
Composer: Vanessa-Mae
Performer: Vanessa-Mae
Conductor: Vasko Vassilev
Performer: Vasko Vassilev
Conductor: Viktor Fedotov
Orchestra: Viktor Fedotov
Orchestra: London Symphony Orchestra
Composer: London Symphony Orchestra
Performer: Pamela Nicholson
Composer: Pamela Nicholson
Edition: Music CD
CD Release Date: 1996-11-12
Music Label: Angel Records
Soundtracks:
- Partita No. 3 In E For Solo Violin BWV 1006: I. Preludio
- Partita No. 3 In E For Solo Violin BWV 1006: II. Loure
- Partita No. 3 In E For Solo Violin BWV 1006: III. Gavotte en Rondeu
- Partita No. 3 In E For Solo Violin BWV 1006: IV. Menuet I
- Partita No. 3 In E For Solo Violin BWV 1006: V. Menuet II
- Partita No. 3 In E For Solo Violin BWV 1006: VI. Bourree
- Partita No. 3 In E For Solo Violin BWV 1006: VII. Gigue
- Scherzo In C Minor For Violin And Piano
- Romance No. 2 In F For Violin And Orchestra Op. 50
- Scottish Fantasy For Violin And Orchestra: 1st Movement - Introduction - Grave
- Scottish Fantasy For Violin And Orchestra: Adagio Cantabile (On 'Thro' The Wood, Laddie' - 'Auld Rob Morris')
- Scottish Fantasy For Violin And Orchestra: 2nd Movement - Allegro (On 'Hey The Dusty Miller')
- Scottish Fantasy For Violin And Orchestra: 3rd Movement - Adagio
- Scottish Fantasy For Violin And Orchestra: Andante Sostenuto (On 'I'm A-Doun For Lack O' Johnnie')
- Scottish Fantasy For Violin And Orchestra: 4th Movement - Finale - Allegro Guerriero (On 'Scots Wha Hae')
- I'm a-doun For Lack O'Johnnie (A Little Scottish Fantasy)
Free Music Notes for The Classical Album 1 / Vanessa-Mae
Free Music Review: She's in over her head
Hit: 2 Stars
While these are not horrible performances, they are exceedingly shallow. Vanessa-Mae clearly has no understanding of how one is supposed to build and shape a piece of music. This is particularly apparent with the Bach Partita, where one cannot rely on spiffy orchestration to save one's [...] --- it's just the violinist and the music, and it's up to the performer alone to make the music speak to the audience.
In this performer's hands, the music simply drifts along without direction or focus. Clearly there is no musical maturity here. For those apologists who would say, "but she was only 17 when she recorded it," I would reply that she should do her musical growing up before stepping into a recording studio. Besides, I thought she was supposed to be a prodigy. This doesn't sound prodigious, only lackluster.
The Classical Album 1 / Vanessa-Mae Poster
Vanessa-Mae started her career as a violin prodigy at age 10. Now, as an adult, she successfully straddles the worlds of classical and popular music. This has made her a sensation, but judging from this disc, the publicity surrounding her has nothing to do with either music or her playing. She is clearly a very talented violinist. Her technique is solid, sometimes even brilliant, but it's so old-fashioned that one cannot tell whether she slides so much because she likes it or because she can't find better fingerings, and her vibrato only gets wider when she tries to make it more intense. Her approach to the music is idiosyncratic, but shows no personal involvement or romantic feeling. The Brahms Scherzo and Bruch's Scottish Fantasia are aggressive and accented, rather than dramatic and passionate; the Beethoven Romance is sentimental, rather than expressive.The Third Bach Partita comes off best: though a bit stiff and stodgy, it has character and really dances. The program ends with her own pop-rock arrangement of the Fantasia's final Scottish song. The recording does not serve her well. Poor engineering makes her tone, though basically good, shrill and squeezed under stress; the piano sounds distant, but clangorous; the orchestra ragged and unbalanced. The booklet carries a skimpy biography and lots of hype, as well as a lengthy essay written by her that makes her sound arrogant, condescending, and defensive, though it is clear that she honestly aspires to be all things to all people. Also, it is printed in type so small as to be barely visible. --Edith Eisler
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