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Review: Violinist Isabelle Faust Performs Schumann with LACO
On Saturday German violinist Isabelle Faust made a rare Southern California appearance, performing Robert Schumann's Violin Concerto in D minor with the Los Angeles Chamber Orchestra (LACO) and guest conductor Dinis Sousa. It was the first time I'd seen her perform live, and wow, did she deliver - as did LACO and Sousa.
Here is a violinist with a beautiful sense of phrasing and expression, backed up with a reliable technique seemingly capable of delivering just about anything the moment requires: a gorgeous melody, a blistering fast passage, double-stop trills, perfect-pitch octaves - even a vulnerable little spiral of a chord at the end of her solo encore.
She played Schumann's seldom played (and historically maligned) violin concerto with commitment and conviction. In our interview with Isabelle, she called this concerto an "anti-concerto," and after Saturday's performance, I could see why. There is no cadenza for the soloist, anywhere in the piece. The intensity of the orchestra in the first movement doesn't waver - even to make way for the soloist. Schumann gives the violinist a lot of odd gestures, and Faust leaned into that, adding color and even at times using non-vibrato to great effect.
I had the feeling that this concerto does not "play itself." For example, the melody of the second movement feels almost set against the orchestra. The last movement requires taking a simple theme laced with a thicket of notes and crafting it into meaningful music - something she did with joyous energy.
Orchestra and soloist were enthusiastically dialed in with each other, sensitive to the details and making it work together.
But despite this exceptional performance, I did have some issues with the architecture of this concerto. Most bewildering was the second movement, which is widely considered to be this concerto's the best asset - its emotional center of gravity. While it presents gorgeous material (that melody, in Faust's hands!), it all lies in a strange rhythmic bed. Keep reading...
Interview: Violinist James Ehnes and the Minnesota Orchestra: A Three-Decade Partnership
James Ehnes is not only one of the most respected violinists on the planet, he’s seemingly the most charming guy in the world. "Be nice, be kind, be respectful" is the mantra he learned early in life, and it still guides him today.
In a candid conversation with Minnesota Orchestra violinist Emily Switzer, Ehnes reflected on everything from the emotional landscape of Sibelius’ Violin Concerto to what his Stradivarius continues to teach him. He spoke about why teaching matters to him, his long-standing connection with the Minnesota Orchestra, and even his favorite ritual when he visits the Twin Cities.
A few moments stood out. Ehnes shared that he has learned "it’s up to me to separate myself from some of the stress of life," a reminder of the pressure many accomplished artists navigate. And when asked what he might do if he weren’t a musician, he offered an answer that was a bit tongue-in-cheek: "Science or technology...something where there are answers to be found."
Violinist Alyssa Park Appointed Concertmaster of LA Opera
Last week the Los Angeles Opera announced the appointment of violinist Alyssa Park as concertmaster of the LA Opera Orchestra. She will begin her tenure in next month, with performances of Giuseppe Verdi’s Falstaff, opening April 18 at the Dorothy Chandler Pavilion.
Alyssa is a seasoned international soloist, having launched her career at age 16 as the youngest prizewinner in the history of the Tchaikovsky International Competition. She has served as concertmaster of the New West Symphony and is a founding member of the Los Angeles–based Lyris Quartet, among many other posts.
Park replaces longtime concertmaster Roberto Cani, whose passing last spring at the age of 57 was deeply grieved by the community. Keep reading...
V.com weekend vote: Have you met your (violin) maker?
Last week I had the wonderful honor of spending time with a group of violin makers who were showing their instruments at a special event at Metzler Violin Shop, in Glendale, Calif.. near where I live. They were so interesting that I made a video so you could "meet" them, too - find that here.
But it also made me think, how many of us violin players interact with violin makers? Certainly, I have colleagues who are very immersed in the world of their instruments, interacting with violin makers on a regular basis, commissioning instruments, etc.
What are your experiences, interacting with violin makers? If you have made a violin (whether as a seasoned professional or a beginner) please answer that you are a violin maker. Making even one violin is an enormous achievement. If you have "met your maker," please vote for that. And if you have make violin makers, but not the one who make your fiddle, then check that box. If you have never met a violin maker, I do hope you will get the chance to do so! Thinking about the "life" my instruments have had before they came into my hands - this lends an entirely new and interesting perspective to being a violinist!
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