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The Week in Reviews, Op. 480: Andrew Bird, Leonidas Kavakos, cellist Sheku Kanneh-Mason

December 17, 2024, 1:44 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.

Andrew Bird
Violinist, singer, whistler, songwriter Andrew Bird. Photo by Matthew Siskin, courtesy of the LA Phil.

Andrew Bird performed his "Gezelligheid Concert" in Chicago.

Leonidas Kavakos performed and directed Mozart’s Violin Concerto No. 4 in D Major with the New World Symphony.

Cellist Sheku Kanneh-Mason and pianist Isata Kanneh-Mason performed in recital at Carnegie Hall, and in Cincinnati.

Madeline Adkins performed and directed Vivaldi's "The Four Seasons" with the Utah Symphony.

Isabelle Faust performed Mozart Concertos 2 and 5 with Il Giardino Armonico period instrument ensemble.

Jan Mrácek performed Dvorák's Violin Concerto in A minor with Semyon Bychkov and the Czech Philharmonic in Toronto.

Leonidas Kavakos performed Brahms’ Violin Concerto in D Major with Gerard Schwarz and the Palm Beach Symphony.

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Replies

December 18, 2024 at 08:51 AM · Isabelle Faust's 'gut strings and a classical bow' are surely a move in the HIP direction.

December 18, 2024 at 04:54 PM · 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.)

December 18, 2024 at 11:23 PM · 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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