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Nigel Kennedy, Franz Schubert, Felix Mendelssohn, Max Bruch, Jeffrey Tate, English Chamber Orchestra - Mendelssohn: Violin Concerto in E minor; Bruch: Violin Concerto No. 1; Schubert: Rondo in A - Amazon.com Music
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Tempos just a touch slower than say Mutter/Karajan, Zukerman/Philips or Perlman/Haitink, (to name a few) with smaller scale orchestral support than the BPO or Concertegebouw, but on this recording what is readily apparent is young Kennedy's attention to each note and his bowing accuracy. Comparing his refined note-to-note phrasing to some other recordings, you notice better technique here than rushed tempi elsewhere, clearer phrasing than other "masters", with no desire to rush through the music by Kennedy. Tate and the English Chamber Orchestra provide a lighter, but no less worthy, symphonic suppport to accompany Nigel. So look elsewhere for an overtly "virtuoso" style performance, what you get here is clarity, musical accuracy, controlled tempos, great violin detail and cystal clear sound. The Bruch gets a similar reading of clarity, musical detail, and appropriate support with no rushing. Kennedy misses no interpretive insights with his violin performance in the Bruch. The Schubert Rondo (D438) is often added to this combo, and here Tate ensures that Schubert sounds like Schubert, no Mozartean style playing, no rushing, this is what Schubert should sound like. Kennedy again giving full violin detail with no rushing. Firm recommendation then, admitting that most collections will have at least a few Mendelssohn & Bruch violin concertos recordings by personal favorite violinists, orchestras or recording labels.
Nigel Kennedy and Jeffery Tate were simply impeccable in this CD. Both Bruch and Mendelssohn's works were very well done. In fact, If I'd only own one CD for these two works, I wouldn't mind to have this recording. Kennedy put a lot of emotion and passion in his strings. There was no holdback, he was not tentative at all, and his technique is good enough to let the music just flow out of his strings, and he attacks every notes with passion. Both pieces are just so smooth and flow so naturally from the first note to the last. I also have the Bruch concerto made by Heifetz. I compared kennedy's work with Heifetz's, and there is really nothing about Kennedy I can complain. That being said, I think that tells how good Kennedy is. Kennedy in this work has risen above his peers today. I just didn't hear this kind intensity from say, Joshua Bell, or Chiao-Liang Lin.
This is one of the best recordings of these two concertos that I've ever heard. With such an acclaimed performer as Nigel Kennedy, it isn't surprising the standard is excellent. The music really flows from the heart and his stlye of performing really suits this type of romantic music. His technical ability is remarkable and playing the violin a little myself, I can safely say he is one of the best living violinist I've ever seen.
Going by the album cover, showing that Kennedy prefers looking cool to dressing up, one might expect wild, rebellious playing. But things are quite the opposite though, with Kennedy favoring a laid back approach. He's actually a sensitive musician, surprising for someone who is clearly trying to win popularity with his eccentric appearance. Listening to this disc, I was impressed by his ability to play with touching, sincere lyricism. There's maturity here, and although he sometimes delivers bite (which I personally welcome), he's clearly going for the heart. In both of these warhorses, there are moments when he slows down and just lets the beauty of the music surround us. Personality is present without question, and while I think Kennedy can lean towards reticence, it's probably intentional.
As aforementioned, Kennedy can deliver bite. This isn't necessarily the same as drive, meaning that Kennedy isn't out to set your pulse racing. Sometimes Kennedy can seem to play with indifferent roughness, a quality I used to despise, but here I find myself liking it. In overplayed works like these, it's awfully easy to become bored, and anything new and out of the ordinary is welcome. And I should make it clear that Kennedy's bite is never rough to the point of sounding out of place, like on his famous Four Seasons recording. He has restraint; some would say he has too much.
The number one drawback for me was the lack of a premier orchestra to accompany Kennedy. Tate and the English Chamber Orchestra are competent performers, to be sure, but Kennedy completely overshadows them. Again, this may have been the point, but the whole effort would have been much more rewarding if Kennedy would have been playing with a top notch orchestra and conductor. I always thought Kennedy and Rattle fit like a hand and glove (they certainly do in their recording of the Elgar Violin Concerto), and Rattle would have made a superb collaborator. But we might as well enjoy what we do have, and Tate does give Kennedy suave, polished playing from the ECO, if not much more.
In closing, this is a fine disc. If you're a Kennedy fan, this CD is absolutely indispensible.
the funny part is , I already had a copy. This one made a great gift for a classic lover. I actually listened to the recording on classical FM 96.3 Toronto.
Diese Cd hat mir sehr gut gefallen.Die Konzerte von Bruch und Schubert werden in gängigem Rahmen gespielt. Ganz anders das Violinkonzert in E minor Op.64 von Mendelssohn.Besonderes Einfühlungsvermögen zeigt Nigel Kennedy im 2.Satz(andante),eine Romanze sehr viel langsamer gespielt als normal üblich.Hineinhören lohnt sich bestimmt.
these violin concertos are among the most popular in the repertoire so it is a crowded field out there. These are early Kennedy but his style doesn't seem to have changed much. He can play prettily enough if he chooses but he seems to generally prefer a cool classical restraint (his playing, which rather belies his behaviour on stage) and purity of intonation over overt emotionalism or rich tonal colour. I find this makes his recordings easy to live with (I exclude his astringently rhythmic Vivaldi from this generalisation) but those who prefer a sweeter heart-on-sleeve approach would no doubt look elsewhere.
For myself, I find his recordings consistently reliable and this one fits with the general pattern.
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