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.
Leila Josefowicz performed the West Coast premiere of Scottish composer Helen Grime’s Violin Concerto with the Cabrillo Festival Orchestra.
Blake Pouliot and friends performed at Ottawa Chamberfest.
Black Violin performed with the Grand Rapids Symphony at Frederik Meijer Gardens & Sculpture Park.
Maxim Vengerov performed in recital with pianist Polina Osetinskaya at QPAC Concert Hall in Brisbane.
Leila Josefowicz performed John Adams' Violin Concerto with the Music Academy Festival Orchestra in Santa Barbara, Calif.
Alexi Kenney and cellist Julie Albers performed Jimmy López's "Guardian of the Horizon" with the Saint Paul Chamber Orchestra, with Pekka Kuusisto conducting.
Sayaka Shoji performed Brahms' Violin Concerto with the Singapore Symphony Orchestra.
Please support music in your community by attending a concert or recital whenever you can!
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Discover the best of Violinist.com in these collections of editor Laurie Niles' exclusive interviews.
Violinist.com Interviews Volume 1, with introduction by Hilary Hahn
Violinist.com Interviews Volume 2, with introduction by Rachel Barton Pine
August 7, 2024 at 12:57 AM · I went to hear Augustin Hadelich play the Tchaikovsky VC with the Colorado Music Festival Orchestra, led by Peter Oundjian, on Thursday, 8/1, and I’ve never heard a more beautiful rendition.
Hadelich’s sound was singing throughout and never pressed - he could always be heard, and his sound was always beautiful. The pacing was generally towards the brisker side, rather than a big RUSSIAN interpretation, but there was so much subtlety in taking small changes in the tempo, which really speaks to the sympathy that the soloist and orchestra had. Whenever Hadelich dropped the dynamic down, the orchestra really gave him space by dropping theirs.
And Hadelich also carefully listened and adjusted to the orchestra; if he wanted to push the tempo forward a little more than the orchestra, it seemed like he might try, and if it didn't take, he would immediately adjust. Everything was in the right place, and all the passagework still had this shaping and phrasing, so nothing ever sounded cursory.
And I never thought I'd say this, but the flutist in orchestra, who I believe is Viviana Cumplido Wilson from the Phoenix Symphony, had the most beautiful warm sound I've heard from an instrument I don't usually care for. All of her solos were very lovingly given.
The Dvorak 7th Symphony, on the other hand, I thought was a pretty perfunctory rendition. Not too much variation in dynamics, and pretty four-square from a tempo perspective. Nothing wrong with it, but it didn't do the symphony's charm justice.