Program: VIVALDI: Concerto for 2 Violins in C Major, RV 507; The Four Seasons; Tribute to Jimi Hendrix–Purple Haze; Traditional Celtic Jig
Peerformers: Nigel Kennedy, violin/ Jakub Haufa, violin/ Monika Raczynska, harpsichord/ Taro Takeuchi, lute and baroque guitar/ Polish Chamber Orchestra
Studio: EMI Classics DVD 0946 3 65908 9
Video: 16:9 Color
Audio: PCM Stereo, Dolby 5.0
Length: 90 minutes
Rating: ****
This film by John Stanley captures the 17 July 2005 concert by Nigel Kennedy, who has become a violin phenomenon, a media virtuoso on a par with any sports or movie star. A brief interview with Kennedy opens the film, who says that tradition is important, but only as a stepping-stone to the future. Nice exterior shot of the dressed-down Kennedy walking by the ramparts of the huge fortress of the Citadelle. Kennedy warms up with a bit of Bach. He peppers his conversation with any number of “you knows,” like a nervous high schooler. A night concert, the fortress is alit as the musicians pour on stage. A small ensemble, we are in Vivaldi’s universe, meditated by a smart, hip, youthful audience that likes to applaud after every gesture. A “merci beaucoup” and the broken French says we hope you’ll like the Vivaldi you hear. Shaggy, Kennedy is a classical Bruce Willis with a glitter jacket and a violin, who warms up with an Irish gig, a bit of Kreisler, and some rhythmic bravura just to see if his fellow player Haufa can stay with him.
Two solo violins join the Polish Chamber Orchestra for a spirited romp through the Concerto in C. The camera pans in from behind them. We catch a glimpse of the microphones taping the concert. Quick cutting from each soloist to the group in profile. The musical style puts Vivaldi in the direction of Paganini, while the orchestra enters with biting attacks. Wild runs from the harpsichord, while the two violinists mark every cadence with a foot stomp. [I had to turn my LFE channel way down!…Ed.] A long ritard for the final note of the opening Allegro. The audience goes berserk, rock concert style; then we proceed to the Largo, with added Baroque guitar. Kennedy adds tremolandi to the string line while Haufa plays straight. The final Allegro sprints in its own, eccentric way, the two soloists each trying to out-sizzle each other. A third violinist stands to join the merry fray, dueling banjos, Baroque-style. A spellbinding cadenza by Kennedy holds everyone in thrall. A guitar cadenza prior to the last note gives the hijinx a last minute surprise. The Four Seasons: we begin less with a downbeat than a shrug, Kennedy’s looking like actor Gary Oldman’s pretending to be Kennedy. The bird calls warble every which way from Kennedy and Haufa, the tempos brisk. Rapid cutting from Kennedy to his individual players, the tempos often slowed down to distortion, but rife with personality. The Largo receives added grace notes and turns; the accompanying strings offer stringendo and rasping effects. A shot from behind the harpsichord for the carefree Allegro that concludes Spring. Nice shot of Kennedy in profile against a royal blue background. He comes out of phrase, and his ensemble yells something like Ole! before we proceed to Kennedy’s cadenza accompagnato. Another Ole! and on to the finale and plenty of applause.
It‚s a sultry, hot summer in Kennedyland; and after a slow opening, Kennedy plunges into the presto full force. No denying the musical excitement Kennedy creates, even if his gestures seem stolen from the movie 8 Miles. Director Stanley tilts the camera angles to increase the nervousness of the performance. The whiplash tempos, their fitful stops and starts, sudden decrescendos, all keep us locked in. The Adagio is poignant enough, again with added embellishments ad libitum. The final Allegro is a summer forest fire, if not a rainstorm. That Kennedy’s bow doesn’t go up in flames, too, I don’t fathom. The harpsichordist has all she can do to stay apace. Kennedy strolls with his violin through the ranks, inflaming them as well to a stunning finale.
Fall gallops into our ears full throttle, hesitates, then accelerates forward again. Kennedy dialogues with his Baroque guitar at a clip that defies precision. He gambols a bit with his individual players, enjoying the musical tug-of-war. The camera pans across the entire stage as Kennedy lazily drones the adagio section, the orchestra offering up gurgling, murmuring effects. Long held notes that decay slowly, then a savage burst of energy to the coda. Adagio molto: deliberate chords from the harpsichord while Kennedy plays ppp, then tremolando. A hefty march tempo for the final Allegro, Kennedy striking up the tune like a fiddler at a country reel. Kennedy’s bow has indeed begun to shred form friction, if that tells you something about the infectious energy of this performance. The quiet ending, mezzo-forte, appears refreshed, by contrast.
Winter lunges forward, all dissonances, barks, and growls. Kennedy takes his part prestissimo but beautifully articulated, his alternating dynamics stop-on-the-dime perfect. The “triangle of electricity” that exists among players, soli, and audience is complete. Kennedy cuts off the applause with an improvised cadenza, jazz-style. A chuckle, and we are into the Largo, played at a brisk andante pace. Silence–then to the graduated, serpentine Winter Allegro, a blizzard abut to erupt on the world. Tripping lightly, Kennedy ushers the storm by a series of false starts, than a duet with his continuo. Breathless to the close, we simply get swept away by the sheer joy of composer and performers in stunning sympathy.
Two encores after applause, French-style unisono, with whistles and screams. Purple Haze, in homage of Jimi Hendrix. Rock meets something like Stravinsky, all jagged edges. This piece really cooks. Kennedy plays the audience,, touching firsts. Then, he plays to a lovely lady, serenades her. More itinerant music-making, Kennedy finally returning to the stage for a huge crescendo. Will Kennedy burn his violin to complete the homage? Not quite, but slam-dance he does. The musicians march off the stage, leaving it empty, a la Haydn’s Farewell Symphony. The audience is on its feet, ga-ga. Now, a Celtic jig, audience a-clap. You have to laugh out of sheer musical fun.
— Gary Lemco
