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The Week in Reviews, Op. 480: Andrew Bird, Leonidas Kavakos, cellist Sheku Kanneh-Mason
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, singer, whistler, songwriter Andrew Bird. Photo by Matthew Siskin, courtesy of the LA Phil.
Andrew Bird performed his "Gezelligheid Concert" in Chicago.
- Third Coast Review: "Not all Christmas songs are about comfort and joy. Singer, songwriter, violinist, sometime actor (he made his acting debut in Fargo), and whistler extraordinaire Andrew Bird inherently knows this, which is perhaps why he appreciates Yuletide songs that have a mournful touch set in minor keys."
- Illinois Entertainer: "Highlights included a delightful medley of Vince Guaraldi’s memorable soundtrack for A Charlie Brown Christmas. Hampton’s nimble bass groove provided the foundation for Bird’s swooping and cartwheeling violin during “Skating.” Extended solos spilled over with ebullient jazz and sly blues notes, as well as virtuoso classical flourishes."
Leonidas Kavakos performed and directed Mozart’s Violin Concerto No. 4 in D Major with the New World Symphony.
- South Florida Classical Review: "With his nearly flawless technique, Kavakos was in total command of the score’s challenges. Utilizing spare vibrato in both his solo playing and that of the chamber orchestra, he delivered a performance that was influenced by the period instrument movement with crisp tempos and learn textures. "
Cellist Sheku Kanneh-Mason and pianist Isata Kanneh-Mason performed in recital at Carnegie Hall, and in Cincinnati.
- New York Classical Review: "Whether it was countless hours of practice or sibling telepathy, or most likely both, their performance on Sunday was exceptionally woven together, as if by a single mind."
- Cincinnati Business Journal: "There is something special about the unspoken communication that these siblings share from many years of playing together. Their performance was so seamless that they rarely even needed to glance at each other. This was chamber music at its finest – with playing that was exuberant and often intimate and personal. Best of all, they played with no airs, seeming only to want to share their music-making and make it accessible to others."
Madeline Adkins performed and directed Vivaldi's "The Four Seasons" with the Utah Symphony.
- Utah Arts Review: "Adkins, who has been a featured soloist several times since joining the orchestra in 2016, displayed fine technique and remarkable musicality in each concerto. The rapid-fire passages in the outer movements of each work were clearly defined and articulated in her hands, while the more melodic passages were played with clarity and, at times, effusive expressiveness. "
Isabelle Faust performed Mozart Concertos 2 and 5 with Il Giardino Armonico period instrument ensemble.
- Bach Track: "On this occasion, she played on her 'Sleeping Beauty' Stradivarius strung with gut strings and a classical bow, rather than a historically set-up instrument, but her deep understanding of the performing practice, and perhaps more importantly the “spirit” with which Antonini and his group perform, was obvious"
Jan Mrácek performed Dvorák's Violin Concerto in A minor with Semyon Bychkov and the Czech Philharmonic in Toronto.
- Ludwig van Toronto: "The performance was strong in every respect, but especially so in terms of esprit de corps. There was no ego on display, and some might even have found the first solo bars unduly restrained; yet Mrácek’s warm, noble tone, while naturally blending with the orchestra, soon acquired the necessary flair and swagger."
Leonidas Kavakos performed Brahms’ Violin Concerto in D Major with Gerard Schwarz and the Palm Beach Symphony.
- South Florida Classical Review: "Kavakos is a musician’s violinist. In his performance of the Brahms concerto, every bar was infused with expressive meaning and insight. Also a conductor in addition to his solo career, Kavakos faced the orchestra during the long introduction and successive interludes, clearly following every detail of the instrumental fabric. His sound is more silver than gold—clean, transparent and gleaming. "
- City Biz: "Acclaimed for his matchless technique, captivating artistry and superb musicianship, Kavakos captivated the audience when he hit the challenging notes."
Please support music in your community by attending a concert or recital whenever you can!
You might also like:
- The Week in Reviews, Op. 479: Gil Shaham, Randall Goosby, Leonidas Kavakos
- The Week in Reviews, Op. 478: Charles Yang; Gidon Kremer; Handel & Haydn Society
- The Week in Reviews, Op. 477: Lisa Batiashvili, Stefan Jackiw, Martin Chalifour
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Replies
I do believe Isabelle Faust has been doing a good share of HIP-tinged performing all along... For example, in this conversation with Pirastro's Ed Mingo, he talked about her endorsement of Pirastro strings, sharing that she "uses Pirastro's Passione gut strings on her historical instruments, and she uses Perpetual Cadenzas on her modern violin because they feel like gut strings." So to me, that sounds like she has a regular set-up for both modern and HIP - indicating she goes the HIP way on a regular basis. (Long-winded response!)
(btw In my own string adventures, I keep coming back to the Perpetual Cadenzas, they are nice strings.)
Yes, I've long had the impression that Isabelle Faust handles HIP and C21 performance philosophies quite happily. In fact I first came across her in a baroque/classical context and was later surprised by her work with music of subsequent periods.
I suspect that the critic was not aware of the classical (as opposed to modern) bow.
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December 18, 2024 at 08:51 AM · Isabelle Faust's 'gut strings and a classical bow' are surely a move in the HIP direction.