It’s a long work, and one of the most difficult in the repertoire with its multiple-stopping, unorthodox string crossings and leaping around the instrument, all at speed – it’s almost as exciting to watch as to hear. The second movement is one of the quickest on record. Benedetti and pianist Petr Limonov are quiet and pensive, her violin silky-toned, the sound scaled back but just as electric. The time frame, however, has a decisive influence on the mood that an interpretation can lend to a work, and in this respect, Nicola Benedetti pursues her own admirable path, far from any pomp and circumstance, with assertive, robust violin tone, energetically supported by the conductor and the orchestra. Her vibrato is beautiful and used delicately, whilst Kennedy’s tone is much richer, almost indiscernible.
It covers new album reviews, as well as in-depth guides and classical music news.All of The Classic Review’s covered albums are available for purchase on our Amazon store:Get our periodic classical music newsletter with our recent reviews, news and beginners guides.All rights reserved. After the turbulent crests of emotion in the concerto, these intimate and delicate pieces are completely endearing and provide a fitting end to the album.Get our periodic classical music newsletter with our recent reviews, news and beginners guides.The Classic Review is an independent website, that is self governed and pays for its services such as hosting, writing, editing and audio. Jurowski, on the other hand, is slightly over-cautious in the orchestral episodes, showing much restraint. Technically, the passages of running semi-quavers are executed with precision, showcasing the evenness and warmth of tone Benedetti can generate across the entire range of the instrument. Benedetti/London Philharmonic Orchestra/ Jurowski/Limonov All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means.The Classic Review was launched in 2018 for classical music lovers around the globe. The woodwind of the London Philharmonic are not particularly prominent, and the quicker tempo doesn’t allow them to execute Elgar’s markings fully. This is where I found Benedetti the most idiosyncratic, and in a good way. This is where I found Benedetti the most idiosyncratic, and in a good way. Tasmin Little and Sir Andrew Davis ride the waves of emotions with some of the biggest peaks, while Thomas Zehetmair is completely commanding with Sir Mark Elder. But Nicola Benedetti is undaunted and brings her own engaging personality, as well as a formidable technique, to bear in a compelling account. © 2020 Guardian News & Media Limited or its affiliated companies. Nicola Benedetti, Elgar Review Nicola Benedetti was born in Scotland of Italian heritage; Benedetti began violin lessons at the age of five. Unsurprisingly from such a tireless campaigner and educator, that’s not quite all: Benedetti has filmed Another Beethoven recording that urgently demands shelf (or disc) space. There are only a few major successes in the genre: Symphonie Fantastique, Pictures at an Exhibition, La Mer, and The Planets come to mind.
The extended opening orchestral exposition of the first movement has echoes of Elgar’s own recording with Menuhin.
For herself, Benedetti shaped a … Technically, the passages of running semi-quavers are executed with precision, showcasing the …
Nicola Benedetti has waited before tackling Elgar’s Violin Concerto, but has now played it a few times in 2019. Unfortunately, the woodwind and brass again don’t elevate sufficiently out of the denser textures, missing out on creating the Elgarian sound, as Vernon Handley crafts for Nigel Kennedy with the same orchestra, in Kennedy’s earlier version of this Concerto (1984).Kennedy and Handley are intensely emotional, with broader tempo choices and making the most out of every detailed instruction. Salut d’Amour sounds fresh, and is played with an understated sigh that draws the ear in. The brass, while possessing a pleasant sound, don’t quite elevate sufficiently out of the rich string textures in the climactic moments.Benedetti brims with confidence throughout the final movement, in a self-assured and highly virtuosic reading. By donating you are helping to insure it remains independent.The Classic Review was launched in 2018 for classical music lovers around the globe. The pieces with piano – Salut d’Amour, Sospiri and Chanson de Nuit – are almost the flipside to this. Where there are subtleties of tempo change, Jurowski clearly follows Benedetti, who is very clearly in the driving seat. She attended the Yehudi Menuhin School, where she studied with Natasha Boyarskaya. Marked “Andante”, Benedetti comes in at almost one and a half-minutes under Menuhin and almost two minutes under Nigel Kennedy, who is one of the broadest.Benedetti is more straightforward, with a strident feel that brings a range of different colors and emotions. Benedetti brims with confidence throughout the final movement, in a self-assured and highly virtuosic reading. Jurowski treads with care and caution and the playing from the London Philharmonic is sufficiently detailed. Sospiri is beautifully done, Benedetti’s tone silky and contained yet electric; it’s an initially bleak picture of despair that lifts just slightly into something hopeful at the end. Benedetti’s initial entry makes a statement: this is her interpretation, her moment to communicate, her chance to shine, and she strides on with a strongly rhythmic momentum. It covers new album reviews by knowledgeable and independent writers, as well as in-depth guides and news.Get our periodic classical music newsletter with our recent reviews, news and beginners guides. Benedetti and Jurowski bring something more emotionally restrained, and the conductor and the orchestra except more heartedly the accompanists role, letting Benedetti shine. Benedetti is impressively agile at changing her tone, from the heady vibrato-laden legato cantabile to the silvery chains of sound in the passagework, which sounds effortless, natural and spontaneous.
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nicola benedetti review