mon 19/02/2018

violin

Baráti, Lyddon, LPO, Jurowski, RFH review - Stravinsky's bright but derivative beginnings

"You have to start somewhere," Debussy is reported to have said at the 1910 premiere of The Firebird. Which, at least, is a very good "somewhere" for Stravinsky, shot through with flashes of the personality to come. The Symphony in E flat of two...

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Bell, Academy of St Martin in the Fields, Bridgewater Hall, Manchester review - life and imagination

You can’t help liking Joshua Bell. The Peter Pan violin soloist of the classical world has been in the business for more than 30 years and still has his boyish looks and, more importantly, his enthusiasm and sense of enjoyment in making music. At...

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Best of 2017: Classical concerts

Did Simon Rattle's return to the UK as Principal Conductor of the London Symphony Orchestra live up to the hype? Mostly, and when it did, the music-making was superbly alive. But it's vital to observe that another orchestra and chief conductor have...

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Salonen conducts Sibelius, RFH/Oramo conducts Salonen, Barbican review - Finnish psychedelia

After Sakari Oramo's dazzling Sibelius rattlebag with the BBC Symphony Orchestra on the centenary day of Finnish independence, things weren't looking so good for Esa-Pekka Salonen and the Philharmonia at half time last Thursday (★★★). Then along...

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Capuçon, BBCPO, Mena, Bridgewater Hall, Manchester review - awesome unity

Shostakovich’s First Violin Concerto is a big work in every sense: four movements, plus a solo cadenza before the last one that makes it seem almost like five; a soloist’s role that even David Oistrakh (for whom it was first written) found taxing;...

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Christian Tetzlaff, Lars Vogt, Wigmore Hall review - lyrical Brahms from veteran duo

Sonata no 1 – Sonata no 2 – Sonata no 3 – that’s barely a recital programme, it’s just a list. Fortunately, violinist Christian Tetzlaff and pianist Lars Vogt (pictured below by Neda Navae) have good musical reasons for presenting the Brahms violin...

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Batiashvili, BBCSO, Oramo, Barbican review - electricity in Sibelius and Hillborg

Even given the peerless standards already set by Sakari Oramo and the BBC Symphony Orchestra in their Sibelius cycle, this instalment was always going to be the toughest, featuring the most elusive of the symphonies, the Sixth, and the sparest, the...

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Messiaen & Shostakovich, St John's Smith Square review - Osborne and Gerhardt anchor 1940s masterpieces

Only connect. As the Southbank Centre's International Chamber Music Series at St John's showcased supreme eloquence in two searing but perfectly-proportioned meditations from the Second World War, over the road at Smith Square Europe House was...

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In search of Proust's 'Vinteuil Sonata': violinist Maria Milstein on the writer's musical mystery

I remember very well the first time I read Swann’s Way, the first part of Marcel Proust’s monumental masterpiece, In Search of Lost Time (À la recherche du temps perdu). I was struck not only by the depth and beauty of the novel, but also the...

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Crowe, The English Concert, Bicket, Milton Court review - Mozartian prima-donna perfection

Singing students from the Guildhall School should have been issued with a three-line whip to fill the inexplicably half-empty Milton Court concert hall for last night's charmer. After all, every musician, and not just sopranos, should know that this...

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Total Immersion: Julian Anderson, Barbican review - BBC ensembles showcase leading British composer

Julian Anderson’s 50th birthday this year was the prompt for the latest of the BBC’s Total Immersion days, devoted to the work of a single contemporary composer. I have long been a fan of Anderson’s music since hearing the marvellous Khorovod in the...

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Prom 54 review: Kavakos, Filarmonica della Scala, Chailly - cool Milanesi mute Roman exuberance

Last night was one of those rare occasions when I'd rather have heard Respighi's gaudy-brilliant Roman Festivals than Brahms's Violin Concerto. It wasn't just that concerts like Charles Dutoit's 2014 Prom had shown us that the Italian's Roman...

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