However, Wang redeems herself in Kreisler’s Recitative and Scherzo-caprice, where her measured declamation in the Recitative and yielding lilt in the Scherzo-caprice differs from Ruggiero Ricci’s lean and fiery Decca recording. To hear the Bach C major sonata’s long lines and eloquent structures parked in neutral and illuminated by a threadbare tone gives no pleasure, except when you break out the antidote in the form of James Ehnes’ vibrant, stylishly cognizant, and tonally attractive interpretation. Wang’s labored and heavy tread in the Reger B minor Fugue cannot remotely compare with Renate Eggebrecht on the Troubadisc label, who plays the music considerably faster and with more pinpointed intonation. Likewise, Wang’s plodding pizzicatos in the central Sarabande give no clue of the music’s dance origins, in contrast to Tai Murray’s quicker and shapelier performance. In the Ysaÿe Fourth Sonata, for example, the outer movements benefit from Wang’s impassioned and animated treatment, yet are outclassed by Thomas Zehetmair’s supple and effortless technique just compare both fiddlers’ double stops in the Finale. Much as I’d like to recommend this intelligently conceived and well-contrasted program of mixed unaccompanied violin works, Linda Wang’s uneven performances prevent serious consideration.
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