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The Week in Reviews, Op. 348: Itzhak Perlman; James Ehnes; Hilary Hahn
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.
Itzhak Perlman performed in recital with pianist Rohan De Silva.
- Cincinnati Business Journal: "Perlman’s music making...evoked the golden era of violin playing. He often used romantic slides and communicated with a sweet, golden tone on his 'Soil' Stradivarius of 1714."
Violinist Itzhak Perlman.
James Ehnes performed the Beethoven Violin Concerto with the Toronto Symphony Orchestra.
- Toronto Guardian: "Ehnes is a singular talent, technically flawless and emotionally engaged....in Ehnes’s hands (the third-movement cadenza) truly gave the impression of an improvisation, as if Ehnes was momentarily moved to offer musical comment on Beethoven’s composition."
Hilary Hahn performed music of Ginastera and Sarasate with the Utah Symphony.
- Utah Arts Review: "Hahn’s panache, charisma and trademark 'fat tone' were on full display as she bounced and danced along to the embellished Spanish melodies (of Sarasate’s 'Fantasy on Bizet’s Carmen'), which were gracefully accompanied and propelled forward by the orchestra."
Gabriela Diaz performed Ellen Taaffee Zwilich's 'Commedia Dell’Arte' with Boston Modern Orchestra Project.
- Boston Musical Intelligencer: "Gabriela Diaz... dressed appropriately for the occasion and displayed her virtuoso talents."
James Ehnes performed the Korngold Violin Concerto with Canada's National Arts Centre Orchestra.
- New York Classical Review: "...this was a gorgeous performance of one of the brightest and most pleasing pieces in the repertoire."
Ensemble Connect performed a chamber music concert at Weil Recital Hall.
- New York Classical Review: "The Schumann and Brahms were lovely and expertly performed, but the highpoint was the world premiere of Finnish composer Kaija Saariaho’s 'Semafor.'"
Tamsin Waley-Cohen performed the Sibelius Violin Concerto with the Zagreb Philharmonic Orchestra.
- The Guardian: "the soloist...had to fight just a bit too hard to make her finely chiselled lyricism heard. But the general profile of her approach – severe and brisk in the first two movements, far more unbuttoned in the finale – came across clearly, even when some of the details were obscured."
Tobias Breider performed Carl Stamitz's Viola Concerto with the Sydney Symphony.
- Limelight: "His concerto is a delight in three movements and was given an assured and excellent performance by SSO Principal Tobias Breider."
Please support music in your community by attending a concert or recital whenever you can!
You might also like:
- The Week in Reviews, Op. 347: Steven Copes; Patricia Kopatchinskaja; mandolinist Avi Avital
- The Week in Reviews, Op. 346: Augustin Hadelich; Jennifer Koh; Houston Symphony
- The Week in Reviews, Op. 346: Hilary Hahn; Paul Huang; Randall Goosby; Ukraine benefits
Replies
Ah yes, the "golden era" of violin playing. I'm calling that out as total rubbish. If there's a golden era of violin playing, it's right now. Augustin Hadelich is just as good as Heifetz. Ray Chen is just as good as Milstein. Kavakos is just as good as Grumiaux. Hahn is better than Oistrakh. Kremer, Benedetti, Bell, and Mutter are better than Stern, Szeryng, Szigeti, or Elman. Jansen is better than Grumiaux. I'd love to be able to hear Fritz Kreisler live just for the novelty but I'll bet Paul Huang is a better player.
And by the way it's also a golden age of violin making. Today's best makers are just as good as anyone who has ever made violins.
Of course, the makers and players of today have the colossal advantage of being able to study the work of their predecessors.
Paul: I agree. The golden age never ended.
Paul: excellent comparisons. We are also benefitting from a golden age of technology where we can be quite familiar with all of these artists, their playing, multiple reviews, and a wealth of opportunity to "see" them over and over again - often in good quality video. And I enjoy all of the comparisons that can be made so that we can see the changes in style. Recently, Daniel Kurganov did an excellent podcast on true legato and gave quite a few examples from across the available videos comparing many of these artists. We are rich with musical gold for our delight and learning.
Hard disagree, Paul. I'll give you Hadelich and Mutter, but I don't think the rest have the taste of their forerunners. I'll go to Oistrakh gladly to listen to anything, but Hahn doesn't match up. And I'm sorry, but for as polished as Janine Jansen is, her playing is just boring. Ehnes too leaves me totally cold (in recordings and when I saw him live).
I don't have a great argument - It's probably just a matter of taste.
I read also that the past 20 years have been considered a "golden age of astronomy." Small wonder -- not only better hardware like telescopes in space but huge advances in software too -- a few mouse clicks and the stars don't twinkle any more, that kind of thing. What will the next 20 years bring? Hopefully more gorgeous photos of nebulae, planets around other stars, the surface of Mars, etc. Just within the last couple of months someone discovered a planet around a faraway star that has forced astronomers to rethink how planets form in the first place. In modern times, there really aren't all that many things that will ever cause the present to be anything other than a golden age -- and unfortunately those include pandemics, famine, and war.
Well there is indeed some incredibly virtuosic playing today of a very high caliber. Our modern virtuosos are in the Heifetz school of tone which is a very good place to be but I cannot help but long for someone with a Thibaud, or Kreisler, or Ysaye tonal palate to rise to the forefront. I am not sure such a person would make it past the contest juries.
Paul, I understand what you are saying and agree that current players certainly deserve their due and are every bit as "golden"! But I think she's referring to a specific style of early 20th-century playing, with more slides and romantic phrasing, and Perlman does embody that in his playing.
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April 12, 2022 at 07:43 PM · Fortunately, we live in an era which has nurtured many, many genuinely artistic and wonderfully talented string players.
Unfortunately, the world-wide pandemic problem of the past 2 years has limited live performances everywhere.
Thank goodness we also live in an era of a highly sophisticated and readily available recording industry.