Select a month

Back to The Archives

solo violin Archive

RUTTER: Visions; Requiem – The Temple Boys Choir/ Roger Sayer – Aurora Orch. – Collegium

RUTTER: Visions; Requiem – The Temple Boys Choir/ Roger Sayer – Aurora Orch. – Collegium

by | Dec 18, 2016 | Classical CD Reviews

JOHN RUTTER: Visions; Requiem – The Temple Boys Choir/ Roger Sayer – Aurora Orch./ solo violin: Kerson Leong – Collegium COLCD 139, 58:00 (10/18/16) ****: Something new and something old from John Rutter. This new CD pairs John Rutter’s most recent work with one of his most popular. Visions celebrates the utopian ideal of heavenly peace in in four movements, written specially for the solo violin of Kerson Leong, string ensemble and the boy choristers of the Temple Church choir. The Requiem of 1985 receives a significant new recording under the guidance of its composer. Visions was composed at the invitation of the 2016 Menuhin Competition and premiered at a Festival concert in London’s historic Temple Church by Kerson Leong, winner of the 2010 Junior Menuhin Prize, and the Choristers of Temple Church. They are joined by the Cambridge Singers and the young and vibrant Aurora Orchestra. Visions is a strikingly beautiful piece, lovingly played and artfully executed. The work is based on four biblical texts. Rutter has a large following, so this new work is certain to be well received and talked about. I think the appeal of the Requiem is Rutter’s conducting. The work has plenty of energy, […]

Piotr Szewczyk, solo violin – “Violin Futura” – Navona (2 discs)

Piotr Szewczyk, solo violin – “Violin Futura” – Navona (2 discs)

by | Mar 12, 2016 | Classical CD Reviews

Piotr Szewczyk, “Violin Futura”, Thirty-three commissioned works from composers around the world [TrackList follows] – Piotr Szewczyk, solo violin – Navona NV6028 [Distr. by Parma], TT: 101:22, (two CDs) (2/12/16) ***: 
Very impressive violin work in a cutting-edge but nearly exhausting collection.
 Nearly exhausting is this modern solo violin collection both for the incredible talent of Piotr Szewczyk as well as for the listener. The back story on this two disc program is as follows. In 2005, violinist and composer Piotr Szewczyk developed the Violin Futura Project, a collection of commissioned miniatures for solo violin that highlights over thirty international contemporary composers and how they are re-imagining the solo violin. “The purpose of the Violin Futura Project,” says Szewczyk, “is to sample the creative environment of our times by showcasing the wide variety of styles present in the 21st century, and to create a body of new solo violin repertoire.” Szewczyk is, indeed, a very fine player. Polish-born violinist Piotr Szewczyk has been a member of the Jacksonville Symphony’s first violin section since 2007. Szewczyk has also appeared as guest concertmaster with the Orlando Chamber Soloists and has completed a three-year fellowship at the New World Symphony under Michael Tilson […]

“Bach & Beyond, Part 2” = BACH: Sonata No. 1 in g, BWV 1001; Partita No. 1 in b, BWV 1002; BARTOK: Solo Violin Sonata, Sz. 117; SAARIAHO: Frises – Jennifer Koh, v. – Cedille

“Bach & Beyond, Part 2” = BACH: Sonata No. 1 in g, BWV 1001; Partita No. 1 in b, BWV 1002; BARTOK: Solo Violin Sonata, Sz. 117; SAARIAHO: Frises – Jennifer Koh, v. – Cedille

by | Feb 22, 2016 | Classical CD Reviews

This second installment is every bit as engrossing as the first! “Bach & Beyond, Part 2” = BACH: Sonata No. 1 in g, BWV 1001; Partita No. 1 in b, BWV 1002; BARTOK: Solo Violin Sonata, Sz. 117; SAARIAHO: Frises – Jennifer Koh, v. – Cedille CDR 90000 154 (2 discs), 91:18 [Distr. by Naxos] *****: I still remember Jennifer Koh’s first recordings years ago—she was being hyped as one of the finest young virtuosos ever to hit the scene, and though it took a while for her to become well known—largely because the recording industry was in transition—she has now entrenched herself among the finest players in the world, and Cedille is lucky to have her in the stable at the moment. Koh is one of the most passionate players I have ever heard, but her playing is never—repeat, never—out of control. No matter how emotive any particular moment happens to be, the unflagging technical perfection and perfect intonation remains intact. This makes her Bach particularly interesting, as I can only describe it as a combination of Grumiaux’s elegance, Szeryng’s technical finesse, and Joshua Bell’s passion. If I still prefer Lara St. John’s more unbuttoned approach to this music […]