Violin and music

Violin and music

October 2013

Gergiev's Berlioz: Symphonie fantastique - Valery Gergiev/Karen Cargill

Thu 31 Oct 2013, Barbican

The Times, 4 Nov 2013
There was crystal precision too, strikingly apparent in the first yearning phrases and the whiplash attack whenever Berlioz’s passions boiled over.
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MusicOMH, 4 Nov 2013
A swiftly paced and brilliantly played ‘Dream of a Witches’ Sabbath’ was particularly electrifying. This may not have been a very insightful interpretation of Berlioz’s intentions, but as ‘Gergiev’s Berlioz’ it certainly had impact.
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Bachtrack, 4 Nov 2013 was clear from the get-go that this was a performance totally in tune with the fervent, prescient imagination of this bona-fide Romantic polymath.
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The Guardian, 1 Nov 2013
The LSO played with huge virtuosity and it was undeniably exciting
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Classical Source, 1 Nov 2013
in an intensely dramatic ‘Dream of a Witches’ Sabbath’ the LSO, having already produced outstanding playing in the first four movements, achieved still greater heights of virtuosity, with the second violinists unusually permitted to show off their considerable paces at the front of the platform, opposite the firsts.
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Mozart & Shostakovich - Bernard Haitink/Emanuel Ax/LSO

Sun 20 & Mon 21 Oct 2013, Lincoln Center, New York

Bachtrack, 21 Oct 2013
What a fine Mozart orchestra the LSO became under the benevolent gaze of Sir Colin Davis, and with Bernard Haitink on hand as a regular guest conductor, what a fine Mozart orchestra they shall continue to be...Once again, Haitink drew superb playing from the LSO. 
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Classical Source, 20 Oct 2013
The LSO sounded firm, strong and brilliant throughout the performance, and displayed impressive precision, making evident its commitment to Bernard Haitink. This was a shattering experience stunningly performed.
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New York Times, 22 Oct 2013
These London Symphony concerts were a triumph: two tightly focused programs of excellent Mozart and extraordinary Shostakovich. The Mozart was once again glowing and graceful, with a touching pastoral quality in the interplay of piano, flute and strings in the second movement. The Shostakovich was sleek and taut; Mr. Haitink firmly traced the architecture of the third movement, a Rubik’s Cube of shifting rhythms and colors. 
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Mozart & Shostakovich - Bernard Haitink/Emanuel Ax/LSO

Tue 15 Oct 2013, Barbican

Boulezian, 16 Oct 2013
The orchestra on as excellent Mozartian form as I can recall...The truest musical rewards were once again to be heard from Haitink and the LSO; heartfelt, beautifully sonorous, above all unaffected. This was some of the best Mozart playing I have heard – and that includes from the Vienna Philharmonic...It was far and away the best Shostakovich performance I have heard.
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Classical Source, 16 Oct 2013
Interplay between soloist and orchestra was all that it should have been and, though Haitink prefers a slightly larger body of strings than is often now the case, the wind instruments were never obscured. Few symphonic endings convey such emotion through such economy of means: a quality Haitink conveyed with absolute mastery.
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Mozart & Shostakovich - Bernard Haitink/Emanuel Ax/LSO

Thu 10 Oct 2013, Barbican

Bachtrack, 14 Oct 2013
The excellent performance from the London Symphony Orchestra, conducted by Bernard Haitink, meant that the evening was a great success, with the elegance of the Mozart cleansing the palate for the intensity of the Shostakovich.
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Classical Source, 10 Oct 2013
It was a measure of the conviction of this reading that the audience remained silent right through the raptly inward final minutes – Haitink (who permitted himself barely a minute’s sit-down between each movement) visibly gratified with the excellence of the orchestral playing and, in a quizzical gesture towards Shostakovich’s score, grateful to the music itself.
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The Guardian, 11 Oct 2013
The Mozart piano concerto, meanwhile, No 9 in E Flat, K271, got a performance of elegant grandeur and weight. Ax's supple, no-frills playing was immensely appealing. The string tone was extraordinarily beautiful, above all in the dark central andantino, one of the most intense slow movements in Mozart's entire output.
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The Telegraph, 11 Oct 2013
His presence on the podium was sprightly and remarkable in its vitality, and he persuaded the LSO to deliver a more cultured Mozartian sound than it has managed for other conductors of late. The warmth of the orchestra’s inner voices was especially telling. 
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Mussorgsky/Tchaikovsky/Stravinsky - Daniel Harding/Christian Tetzlaff

Thu 3 Oct 2013, Barbican

Classical Source, 4 Oct 2013
This is such imaginatively white-hot music and the performers were not far behind temperature-wise; weighty and incisive, and with lovely warm strings for the inevitable folksong, the LSO had a black mass of a ball, Daniel Harding the gleeful gatecrasher.
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Event Calendar

< March 2014 >

MTT's 70th Birthday: roundtable with LSO player

Ahead of the our celebration of Principal Guest Conductor Michael Tilson Thomas's 70th birthday, we got together a group of LSO players to talk about their memories of working with MTT.


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