Bruch’s Violin Concerto

Thursday 27 September 2012 at 7.30pm

Symphony Hall, Birmingham +44 (0)121 345 0603

City of Birmingham Symphony Orchestra

Walter Weller conductor
Yossif Ivanov violin

Weber: Euryanthe – Overture 9′
Bruch: Violin Concerto No. 1 26′ Listen on Spotify
Tchaikovsky: Symphony No. 5 50′

Tchaikovsky always wore his heart on his sleeve, and no question – in his Fifth Symphony, you can hear it. Deep sorrow, exuberant joy and pure, uninhibited passion…they’re all there, poured out in some of the most glorious tunes Tchaikovsky ever wrote. Conductor Walter Weller shares a lifetime’s experience, and introduces an extraordinary new star. Bruch’s First might be the world’s favourite violin concerto – but just wait until you hear it played by Yossif Ivanov!      www.cbso.co.uk

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Review by Katherine Dixson, BachTrack:

Click here for full review

…     “Prefaced by softly rumbling timpani and gentle woodwind, the violin enters with a spellbinding long note on the open G string. This opening Allegro moderato movement evokes an atmosphere of improvisation, and it was captivating to witness Ivanov’s variations in tempo after a tantalisingly slow introduction. While the solo violin made a thorough exploration of anything and everything to do with G minor, the orchestra quietly supported in the background, then they were given their moment in the spotlight and responded with joyful vigour. The precision of the brass was electrifying as they heralded the reintroduction of the soloist for the Adagio. Once again, I was smitten by Ivanov’s control of the long notes, which materialised apparently from nowhere and threatened to go way beyond what the length of a bow would legitimately allow. Then came the wonderfully contrasting Finale, with the dancing Hungarian sprung rhythms and double-stopped chords, during which one couldn’t help but smile.”     …

 

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Review by Christopher Morley, Birmingham Post:

Click here for full review

…     “Tchaikovsky’s Fifth Symphony was appropriately crepuscular in colour, sonorities built bass-upwards, upper strings only allowed to let rip in passages such as the finale’s excitingly-propelled motor-rhythms. Despite a few fluffs, wind solos were effectively eloquent, Jonathan Barrett’s delivery of the andante’s famous horn solo gloriously expansive, Gretha Tuls’ bassoon alert with personality.”     …

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