It is lovely that you are inspired by your Benslow instrument. Your passion for music is so evident Vivienne, and the progress you are making shows just how hard you are working and how committed you are to improving. I do sometimes wonder if we'd taken home the wrong baby a decade ago!Ī keen composer, Vivienne has very kindly sent us her two most accomplished compositions, one written last term for a group of classmates and a current piece - still a work in progress - is intended for her school orchestra. Our family is all very proud of her, not least because we're hardly musical and pretty much tone deaf. This is Vivienne's first time trying out for the NCO, and both she and I believe that she couldn't have done it without her Benslow violin and bow. "A BIG THANKYOU to Benslow MusicILS for gifting Vivienne this wonderful opportunity to make beautiful music with a high quality violin and bow. In addition, since September, she has passed her Grade 5 violin with Distinction, her Grade 5 Piano, grade 5 Theory and Grade 3 singing! She also plays in her local Intermediate Orchestra and will be taking part in the Milton Keynes Music Festival playing solo in the Bach D Minor Double Concerto next term. What fantastic achievements these two young people have made - the Instrument Loan Scheme is very proud that you are our Christmas 'Star Borrowers'.ġ0 year old violinist Vivienne has just heard that she has been successful in winning a place in the National Children's Orchestra of GB Under 10's. Both are working exceedingly hard and their successes are so well deserved. Come on, Maxim: what would be so wrong with giving us the Walton Violin Concerto as well.Our final 2019 Borrowers of the Year are two amazing young musicians aged 10 and 16. Purists might be upset by the slow speeds in the Viola Concerto, but they should hear this CD regardless: two of the greatest twentieth century concertos by Brits brought thrillingly to live by a pair of Russians. When it comes to the high-flying lines, working well up the fingerboard, Vengerov has few rivals for the sheer beauty of sound he produces maybe only Yuri Bashmet does better (and then only briefly, and only just).
#Is walton violin concerto hard full#
Speeds though are unusually slow in the outer movements, with Vengerov and Rostropovich taking all the time they need to allow us to register the full emotional width of work.
If it weren't for the lower string, the added depth and darkness, you'd be hard pushed to recognise that this wasn't Vengerov on his regular instrument intonation is flawless, and there's that same commanding presence and complete control. Yes, Maxim's borrowed a bigger Strad, the Archinto viola, and he's obviously taken to it like.well, like a viola-player. You're allowed barely ten seconds to recover, before the melancholy opening of Waltons Viola Concerto.
The recording is the business as well: firm, fat and full-range. I've never felt such an epic sense of grief and tragedy in the Britten as in the final pages of this performance, with Vengerov's passionate phrasing and eloquent vibrato, and Rostropovich's emotional moulding of the orchestral textures. Vengerov knows that the Violin Concerto is in part a memorial to those who gave their lives fighting Franco in the Spanish Civil War (which ended in defeat for the democrats while Britten worked on it), yet he finds room for joyful exuberance in the scherzo.which only heightens the pathos of the finale. Vengerov's love for the piece flows from every pore, and his stellar technique allows him more freedom to explore the musical and emotional implications of the score. There's nothing odd about Russian musicians adopting Britten remember the composer's friendship with and respect for Shostakovich, and remember also that when Britten himself came to record the Violin Concerto, his soloist-of-choice was a Russian, Mark Lubotsky.įine though that 1970 Decca recording is, it is well-and-truly eclipsed by this newcomer. It was Rostropovich who suggested the Britten to Vengerov, otherwise he might not have played it, which would have been a pity, as he says he now recognises it as one of the greatest musical creations of the 20th century, an underrated treasure. Slava knew Prokofiev and Shostakovich, and had music written for him by the two Brits whose concertos appear on this new CD: Britten and Walton. Slowly but surely, Maxim Vengerov is working his way through some of the 20th century's greatest violin concertos, and it's no coincidence that his friend and musical mentor Mstislav Rostropovich is on hand to conduct.
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