Nicola Benedetti, the Scottish violinist who has captivated audiences for over two decades, is charting new territory with her latest release, “Violin Café.” Departing from her recent recordings of standard repertoire – Beethoven and Elgar concertos, and a concerto specifically composed for her by Wynton Marsalis – Benedetti delivers an album that evokes the intimate atmosphere of a turn-of-the-century continental salon, with a distinctly Celtic inflection.
Released , “Violin Café” isn’t about grand orchestral statements, but rather a more conversational and communal sound. Benedetti envisioned a setting where musical boundaries blur, allowing for exploration across genres and cultures. The album achieves this through a carefully curated selection of pieces and a unique ensemble featuring Plínio Fernandes on guitar, Samuele Telari on accordion, Thomas Carroll on cello, and, for select tracks, the remarkable Brìghde Chaimbeul on Scottish smallpipes.
The repertoire itself is a blend of familiar favorites and intriguing discoveries. Listeners will recognize works by Pablo de Sarasate, including a sultry rendition of “Carmen Fantasy,” and Manuel Ponce’s “Estrellita.” The album also features Henryk Wieniawski’s technically demanding “Polonaise de Concert,” a piece Benedetti first learned at the age of thirteen. These selections, often staples of the late nineteenth-century violin repertoire, are reimagined for this smaller, more intimate setting.
However, “Violin Café” doesn’t solely dwell in the past. Peter Maxwell Davies’ “Farewell to Stromness,” originally a piano interlude from 1980, finds new life in an arrangement for guitar, demonstrating the album’s willingness to embrace more recent compositions. The inclusion of Maria Theresia von Paradis’ “Sicilienne,” an eighteenth-century piece, further broadens the album’s historical scope.
Perhaps the most striking element of “Violin Café” is the collaboration with Brìghde Chaimbeul and the incorporation of Scottish folk music. Chaimbeul, a leading figure in the revival of the Scottish smallpipes – a quieter, more intimate instrument than the Great Highland bagpipes – brings a unique texture to the album. Her contributions include arrangements of traditional tunes like “Skye Boat Song,” “A’ Choille Ghruamach,” and “Hacky Honey Reel,” adding a distinctly Celtic flavor to the proceedings. The arrangements are described as “very effective and catchy,” offering a compelling contrast to the more classical pieces.
The album’s arrangements, crafted by a variety of hands including Stephen Goss, Paul Campbell, Simon Parkin, and Chaimbeul herself, are central to its success. They are not merely transcriptions, but rather imaginative reinterpretations that “sizzle with passion and energy,” as noted in a review. The arrangements allow the ensemble to both support Benedetti’s virtuosity and to showcase the individual voices of each instrument.
Benedetti’s playing, consistently praised for its beauty, is particularly well-suited to this intimate setting. The album’s reviewer highlights that while her technique is impeccable, it’s the imaginative arrangements that truly define the project. The ensemble’s flexibility allows for a conversational dynamic, creating a sound that feels both refined and approachable.
“Violin Café” is more than just a collection of pieces; it’s a deliberate artistic statement. Benedetti describes the album as a “thank you” to her audience, acknowledging the support she’s received over the past 22 years. It’s a gesture of gratitude expressed through a uniquely personal and genre-defying recording. The album’s inventive instrumentation and thoughtful arrangements create a sound that is both familiar and fresh, inviting listeners into a musical world that is both elegant and engaging.
The album is available now on the Decca label and is slated to be performed on tour, bringing this intimate “café” experience to audiences worldwide.
