Like the two piano concertos and the double concerto, Brahms' Violin Concerto is as much a symphony as it is a concerto. It is filled with lengthy and significant orchestra tuttis, and the solo violin must often interweave its own part with the orchestra rather than playing in stark opposition as in some concertos. To this end, issues of balance, tone blending, and projection are key for the Brahms concerto. Making her Orfeo debut with the Royal Stockholm Philharmonic Orchestra under
Sakari Oramo, violinist
Baiba Skride achieves a great victory in this 2009 live recording. Orfeo's recorded sound quality is both unique and quite successful. The orchestra is rich and powerful and gives listeners the expected impression of being front and center in a large symphony hall.
Skride's sound, however, is much more intimate and possesses a level of reverb more akin to a small recital hall. The synthesis of these two sounds is alluring and allows the solo violin to both stand on its own as well as weave itself into the fabric of the orchestra.
Skride's playing is thoughtful and demonstrative, carrying listeners along through the range of emotions and characters presented in the score. Her technique is every bit as dazzling as her musical insights. Disc 2 of the set finds
Skride joined by her sister, pianist Lauma Skride, in a gripping, assertive performance of the Joachim arrangement of the 21 Hungarian Dances. To achieve this stark difference in character,
Skride even employs a second, brighter Stradivarius violin.