Carrying one's own weight as a solo violinist is not an easy feat, but
Stanislav Pronin makes it seem so. This self-assured, confident violinist performs a number of classics from the solo violin repertory, and even accompanies himself on a
Prokofiev sonata for two violins. His crisp, sharp bow attacks are clean and bright on Paganiniana, which is, in a sense, variations upon variations. This style of bowing comes across as a bit too precise and not fluid enough on the Ysaÿe sonata, where each note is very distinct, but
Pronin's command of the music is quite exciting to listen to. A more romantic, lush sound can be heard in the first part of the Ciaccona; some might object to Bach being played so lavishly, but
Pronin makes the piece his own, creating his own dramatic interpretation. His fierce, attacking style returns in the second part of the piece, but his tremendous energy somehow seems to allow one to overlook the technique and admire his musicianship. Schnittke's A Paganini is an unusual work, with interesting rhythms and musical quotes here and there. The odd middle section is not the most melodic of musical passages, for it comes across rather like tuning a violin. This is no reflection on the violinist, but instead a credit to his versatility.
Pronin performs both violin parts in the
Prokofiev Sonata for 2 violins in C major, which is a complex work with many emotional facets. The dark, tortured feel of the Andante is created by its unusual tonality, and the contrast in moods in the Allegro concludes with enjoyable cacophony. The Commodo reveals a very different side to
Pronin, which is light, sweet, and lyrical, taking the listener on an aural journey through interweaving lines. The final movement, the Allegro con brio, features bold chords and captures a sense of play, thanks to the violinist's spirit. Hopefully,
Pronin will develop more dynamic contrasts over time and make choices that allow for more expressivity.