United Kingdom Bach, Kennedy, Sakamoto – Nigel Kennedy: Bach Now!: Nigel Kennedy (violin, piano, conductor), Nicholas Daniel (oboe), Anna-Liisa Bezrodny (violin), Oxford Philharmonic Orchestra. Barbican Hall, London, 14.11.2023. (AK)
Bach – Violin Concerto No.1 in A Minor BWV 1041; Concerto in C Minor for Violin and Oboe BWV 1060R; Concerto for Violin No.2 in E Major BWV 1042; Concerto for Two Violins in D Minor BWV 1043
Nigel Kennedy – Melody within the Wind
Sakatomo – A Flower Is Not a Flower
You might name it a circus or populism – as some institution musicians discuss with Nigel Kennedy’s live shows – however Kennedy is aware of his music and takes it extra significantly than many extremely revered common live performance artists do. And he performs his violin with mind-blowing vitality and virtuosity (plus he performs the piano, too, with ease and competence). There can also be Kennedy’s phenomenal musical reminiscence as was evident on this live performance. Not solely did he play with out music all through, but it surely was clear from his directing the orchestra that he knew all orchestra elements – and never solely the apparent primary elements which many conductors are so discovered of marking with color of their scores – inside out.
Titled as Nigel Kennedy: Bach Now! the live performance included all of Bach’s violin concertos together with the Concerto for Violin and Oboe in C minor which is extra acquainted in its type as concerto for 2 harpsichords. The programme notes titled this concerto as in D minor; this might have been a typo (or maybe the presentation was a complete tone decrease than traditional?).
The programme notes had been written by Nigel Kennedy, exhibiting his thorough information in addition to his want to speak along with his viewers(s) all-round in any respect ranges. In the occasion, one of many two items deliberate alongside the Bach marathon, Kennedy’s Fallen Forest was changed by a bit by Sakamoto, with lengthy however respectful improvisation added by Kennedy. This was included as a tribute to the composer who died earlier this 12 months.
In truth, Kennedy partially contradicted his personal programme notes by together with two compositions which weren’t by Bach, after which a number of encores of which just one was by Bach. In his introduction to his programme notes Kennedy writes: ‘Although it’s not so commonplace, I’ve discovered it actually works to current all 4 Bach concertos involving violin as one self-sufficient night.’ But later in his programme notes Kennedy means that placing a few of his personal compositions between the Bach items might supply a contemporary perspective into Bach. I’m not certain a few contemporary perspective, however I did get pleasure from – and could be comfortable to listen to once more – Kennedy’s Melody within the Wind. Well, it seemed like a melody within the wind!
At this Barbican live performance the order of the items was not precisely as proven within the programme notes however Kennedy and his troupe simply completed a week-long tour the place the order might need adopted the print. Admittedly, Kennedy talked an incredible deal between items making it certain that the viewers knew what they had been listening to and what Kennedy thought of a wide range of issues. Kennedy offered Sakatomo’s A Flower Is Not a Flower by main the orchestra from the piano, with lengthy – probably improvised – piano solos.
Throughout the night, Kennedy paid tribute to his mentors Yehudi Menuhin and Stéphane Grappelli a number of occasions. His enjoying mirrored his respect for his mentors, most likely each would have been pleased with the performances … even when barely amused by Kennedy’s apparel in addition to liberal chatting to viewers and orchestra members between items.
The performances of the Bach concertos confirmed Kennedy’s information of baroque efficiency follow, even when he poked enjoyable of ‘self-appointed experts’ of the academia in his programme notes. His vibrato and bow speeds confirmed respect for the baroque interval and his frequent stamping for driving the music ahead was within the spirit of the compositions.
Kennedy’s dynamic scale consists of magic pianissimos on his violin and from his band. He was superbly partnered within the concerto for violin and oboe by oboist Nicholas Daniel whose dynamic scale can also be a marvel to behold. The two of them, each enjoying from reminiscence – Kennedy in his T-shirt and a colourfully costumed Daniel – offered magical lyrical dialogues on their devices in addition to mind-blowing virtuosity within the service of profound music making.
The concerto for 2 violins didn’t have the identical unity between soloists however most likely as a result of Kennedy performed from reminiscence whereas Anna-Liisa Bezrodny performed from digital music operated by her foot. She was additionally considerably hindered by a mishap: early within the piece because the peg of her D string acquired lose and she or he wanted to retune. ‘Let’s play quicker to make up for the time’ quipped Kennedy and for certain they proceeded to play very quick.
Kennedy’s quite a few encores included some jazz improvisation with guitar participant Rolf Bussalb, some Grappelli piece in addition to an outstanding efficiency of the primary motion of Bach’s Partita No.3 for Solo Violin in E main. This piece would have been a worthy conclusion to Nigel Kennedy: Bach Now! however Kennedy can not cease; he appears to dwell for acting on stage and, evidently, he prolongs the alternatives. I used to be on my means out after I heard some orchestral association on Silent Night, most likely the final encore concluding apparently on the slightly late time of 10.15pm.
The small twenty-piece band representing the Oxford Philharmonic Orchestra had been excellent. They allowed Kennedy to tease them on stage – a little bit of a waste as solely the entrance rows may hear it – they usually gave excellent musical assist all through. And they appeared to be tolerant even with the unending lengthy encores which had been fantastic in themselves however individuals wanted to catch their trains dwelling.
The live performance left me in awe of Nigel Kennedy’s musicality, information, and expertise but additionally with a warning to not count on a Kennedy live performance to final an everyday live performance size.
Agnes Kory