Description

In Sofia Gubaidulina’s „Rejoice“ comes a varied palette of sound. Interesting to here is how the typical Kagan note is forced to disappeared behind Gubaidulina’s playing instructions and who it reappears when the composition becomes very emotional. What is characteristic of Kagan’s playing? The quick, shining vibrato? It is not just daintiness but has, infect, aural effect. Or is it his command of the bow, in piano vulnerable and fragile, in fort full and physically present? Most important is, that despite these very personal characteristic of his playing, the violin never comes before the music, that his virtuosity never covers up Gubaidulina’s work. This is achieved thanks to honesty with which Kagan uses his phenomenal technical ability, his musical persuasiveness and his deep understanding of the music itself.

Benjamin Herzog, 1999