Violinist Gil Shaham became enthralled by Beethoven's Violin Concerto as a child. Years later, he's still moved by its power.
Shaham is in his dressing room, talking about the magic in Beethoven's violin concerto; why it captivated him when he was growing up and would listen to the recording by David Oistrakh over and over again; why it continues to inspire awe in him, as he performs it with major orchestras.
He recalls one such performance, when he was listening to the orchestra begin, as he stood facing the audience in the hall. In the midst of this story, he pulls out his violin to illustrate the music he was hearing.
"The melody," he says, and plays the orchestral line. "It transforms to minor, and then Beethoven kind of spins it."
He stops playing and smiles at the memory of how, while listening, he caught sight of a young teen in the audience, who was also obviously transformed. Her expression, says Shaham was rapt: "She was like, this is the most beautiful melody I've ever heard in my entire life! And that's exactly what this piece does."
Beethoven wrote the work quickly in 1806, in an apparent flash of inspiration. Premiered by celebrated violinist Franz Clement, it was unlike any concerto the audience had heard.
"It's so much bigger, not just in terms of the orchestra," says Shaham. "The whole scope, the whole story it tells, the whole emotional journey of the piece, is just that much bigger than anything that came before. It really is revolutionary in the way that only Beethoven can be revolutionary."
The lyrical first movement is followed by hymn-like second movement, which leads into the joyous dance-like finale.
"When we get to the last movement, it becomes that uplifting dance, the rondo." Gil Shaham picks up his violin again. "Every moment of this piece is inspired and touching."
Gil Shaham, master of an expansive repertoire of concertos and other violin works that span centuries, glows with a thoughtful, gentle smile. "We're very lucky to hear it, and to play it."