The Week in Reviews, Op. 340: Jennifer Koh; Sayaka Shoji; Augustin Hadelich

February 8, 2022, 1:52 PM · In an effort to promote the coverage of live violin performance, Violinist.com each week presents links to reviews of notable concerts and recitals around the world.

Violinist Jennifer Koh. Photo by Juergen Frank.

Jennifer Koh performed the world premiere of Missy Mazzoli's Violin Concerto "Procession" with the National Symphony Orchestra with conductor Gemma New.

DC Metro Theater Arts: "The powerful performance and warm reception to the premiere brought to life by a composer-soloist-conductor trio of women point to a hopeful future of enlightened curiosity for a field too often dominated by older white males and overplayed works."
Washington Post: "Koh didn’t ride atop the orchestra so much as engage in a prolonged tug-of-war with it — her solos tensing like a tendon within the body of the music. She attacked short solos as if she were sawing through a pipe; elsewhere she strung silvery threads through a dense fabric of dark strings and darting flutes. Her slow-burning centerpiece cadenza was a searing highlight of the evening."

Sayaka Shoji performed Schumann's Violin Concerto in D Minor with the Illinois Symphony Orchestra.

Illinois Times: "The audience...was treated to a breathtaking interpretation of the work, resulting in an extended ovation and an unaccompanied encore which showcased the virtuoso's playful and astonishingly forceful 'hammer on' fingering technique, seamlessly integrated with delicate bowing. Adding yet another layer of fascination, the Stradivarius played so beautifully and aggressively by Shoji was reportedly once owned by none other than Napoleon Bonaparte."

Augustin Hadelich performed Beethoven Violin Concerto in D Major with the Sarasota Orchestra.

Sarasota Herald-Tribune: "...Hadelich’s seamless phrases and sparks of florid runs and filigree kept us riveted to the stage. While his blazing technique in the cadenzas and raucous finale was stunning, the silky caresses – particularly of the inner movement – transported receptive ears to a peaceful haven."

Randall Goosby performed the Mendelssohn Violin Concerto with the Elgin Symphony Orchestra.

Chicago Classical Review: "Goosby drew listeners’ ears with his haunting statement of Mendelssohn’s opening theme, and the first movement’s central cadenza was pristine while maintaining an improvisatory feel."

Julia Fischer performed several Mozart Violin concertos with the London Philharmonic Orchestra.

The Telegraph: "She plays Mozart with a near-constant beguiling vibrato that gives a tensile strength to her sound, and a way of phrasing that is almost haughty in its perfection..."
The Guardian: "There is no doubting the technical security of Fischer’s playing, nor the understated authority of her musicianship. But her account of the concerto was unsmiling and short on charm."

Charlie Lovell-Jones performed Samuel Coleridge-Taylor's Violin Concerto with the Isle of Wight Symphony Orchestra.

On the Wight: "He played with ease and energy, always aware of the orchestra behind him, and with a smile on his face."

Please support music in your community by attending a concert or recital whenever you can!

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Replies

Albrecht Zumbrunn

February 9, 2022 at 05:18 PM · Wow! What a collection of metaphors! The prize for most inappropriate violin metaphor ever goes to "She attacked short solos as if she were sawing through a pipe" but "ride atop the orchestra" is also remarkable.

Seriously, only the last quote in this post gives a reader any idea about the performance rather than about the "creativity" of the reviewer.

Paul Deck

February 11, 2022 at 02:06 AM · I know what "hammer-on" means for the guitar. Does it actually work on the violin? I'm having a hard time picturing that.

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The Week in Reviews, Op. 340: Jennifer Koh; Sayaka Shoji; Augustin Hadelich

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