- Haydn Symphony No. 92 (Oxford), 28′
- Szymanowski Violin Concerto No. 2, 20′
- Brahms Symphony No. 4, 40′
Nicola Benedetti’s encore – Bach – Sarabande from Partita 2 in D Minor
Review by Christopher Morley, Birmingham Post:
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… “Benedetti was here for the first episode in the orchestra’s survey of both Szymanowski Violin Concertos (perversely, here we were hearing the Second; the First comes on February 4, Baiba Skride playing).
Her bright-toned Strad weaved a sweetly melancholic thread, allied to biting bow-work which reinforced the music’s strong similarities to the two violin concertos of Prokofiev. She even managed a squinge of discreet re-tuning during the impressive central cadenza before moving towards the wonderfully exhilarating ending. After this her encore (the Sarabande from Bach’s D minor Partita) grounded us perfectly.
Shani drew sumptuous sounds from the CBSO, an orchestra well versed in Szymanowski, thanks to the long-term advocacy of Sir Simon Rattle.
We had begun with the music of another Rattle protege, Haydn, no less, and his Symphony . Its nickname “the Oxford” alerts the listener to its many learned winks and nudges, but all the time it fizzes with energy, and charms with smiling melodies.” …
Review by Peter Marks, Bachtrack:
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… “The concerto is scored for a remarkably large orchestra, including five percussionists, a tuba, contrabassoon and orchestral piano. Szymanowski’s use of the latter in his violin concertos is particularly notable as few composers, even in the twentieth century, employed the orchestral piano in their concertos. Whilst the composer’s first concerto tends towards the impressionistic, the second is more assertive. It opens with a grumbling in that orchestral piano in an almost bluesy style. Benedetti adopted a suitably sultry tone in this first movement, managing to be heard even against the fullest orchestral accompaniment.
The movements in the concerto are contiguous but clearly distinct. The first two and last two movements are punctuated by a jaw-dropping cadenza almost entirely consisting of double-stopping. Benedetti traversed this with astonishing assuredness, even calmly tweaking her tuning along the way. The cadenza concludes, startlingly, with a huge crash from the orchestra, which conductor Lahav Shani timed to perfection. The third movement is rather militaristic and Benedetti was visibly enjoying the orchestral mayhem going on around her. She also noticeably engaged with her orchestral colleagues, particularly the leader. Benedetti was in total command of this concerto, as were Shani and the orchestra. ” …