Shostakovich Concerto No.1 St. John’s Smith Square, London
Tuesday 29th June 2010 at St John’s Smith Square
Conductor Neil Ferris
Violin Jaroslaw Nadrzycki
(Winner of the Haverhill Sinfonia Soloist Competition 2008)
‘Another fine show from this enterprising and exciting orchestra.’ SEEN AND HEARD UK CONCERT REVIEW.
‘…a challenging and exciting programme of 20th century music.’ Robert Hugill.
Arnold Peterloo Overture
Commissioned for the centenary of the TUC, Maclom Arnold’s depiction of the spirit of the peaceful demonstration in the post-Napoleonic depression interrupted by the nervous and brutal militia is typically melodic and direct.
‘…it is to the Salomon Orchestra’s credit that it not only programmed the work, but gave it a performance of great power which showed the real stature of the music…thank you for this performance: it was a privilege to hear it.’ SEEN AND HEARD UK CONCERT REVIEW.
Shostakovich Violin Concerto No.1
Prior to Jaroslaw Nadrzycki’s first prize at Haverhill in 2008, awards included First Prize and the Audience Award at the first International Violinist Competition in Vilnius for the 100th anniversary of Jasha Heifetz’ birthday in 2001, and earlier at the age of 12 he won the Grand Prix and Gold Medal at the Bacewicz National Violin Competition.
‘…this was a performance of great standing which brought the work to life in all its manifestations..Not only did [Nadrzycki] have the technique to give a dazzling account of the concerto, but he had the emotional maturity to deliver a profoundly moving reading. …The orchestra delivered a crisp, punchy accompaniment with some beautifully profound solo playing.’
Walton Symphony No.1
The remarkable energy, malice and melancholy of the first 3 movements of Walton’s first symphony resonate with a world in 1934 moving towards conflict, but the underlying rage is said to be due to Walton’s girlfriend leaving him, born out by the optimistic turn of the final movement completed in 1935 at the beginning of a new relationship.
‘…glorious in its exultation.’ SEEN AND HEARD UK CONCERT REVIEW.
Tchaikovsky Violin Concerto at King’s Hall, Ilkley, UK
Humperdinck, Tchaikovsky and Brahms were the composers featured at the ASO’s Spring concert in a King’s Hall virtually full to capacity last Sunday evening. The overture to Englebert Humperdinck’s fairytale opera Hansel and Gretel is a magical concert opener and a splendid showcase for all sections of the orchestra; notably the horns which softy introduce the sublime Evening Prayer sung by the lost siblings before they fall asleep deep in the forest. There was a Wagnerian opulence to the orchestra’s performance, with full-bodied string tone and a certain warmth to the brass and woodwind playing.
Next up, one of the most popular concertos – and one of the most difficult in the repertoire. Tchaikovsky’s Opus 35 for Violin and orchestra was denounced as unplayable by influential 19th Century critic Eduard Hanslick who wrote: “The violin is no longer played, but torn apart, pounded black and blue.” Well, I’m happy to report no sign of damage to the instrument played by the 24 year-old Polish violinist Jaroslaw Nadrzycki after his bravura performance with the Airedale Symphony Orchestra, conducted by John Anderson. Nadrzycki is clearly a rising virtuoso who relished the pyrotechnics of the final presto movement and imbued the music with the gutsiness of the Russian Folk idiom. His Solo cadenza in the concerto’s first movement was beautifully phrased and every note exquisitely placed. Dialogue with the orchestra in the slow movement was equally ravishing with orchestral detail delicately etched by the ASO’s talented players.
If the challenges posed by the Tchaikovsky Concerto and particularly that whirlwind final movement are obvious, the difficulties of Brahms’s Third Symphony are more covert, as conductor John Anderson explained to the audience. Elephant traps lurk amongst the complex cross- rhythms with which this symphony abounds. Hence the Third is the least frequently programmed of Brahms’s four symphonies. The work’s quiet, reflective ending is also unpopular with those conductors and orchestras desirous of unleashing an immediate avalanche of applause. So the ASO’s polished performance of this lovely symphony would have been a revelation to many listeners present last Sunday. The element of drama and a sense of foreboding were certainly evident in an interpretation that was as deeply expressive as it was carefully structured, layer upon layer.
The ASO’s next King’s Hall concert, featuring music by Rimsky Korsakov, Vaughan Williams, Ravel and Borodin, is on Sunday 20th June at 7.30pm.
Geoffrey Mogridge, Ilkley Gazette and Wharfedale & Airedale Observer
Recital at St. Wilfrid’s Church, Haywards Heath, UK
Jaroslaw Nadrzycki, playing a Stradivarius violin, and Tadashi Imai, piano, opened their programme with the Brahms’ sonata No.2. Together they quickly captivated the audience with their talent, technique, empathy and musicality, expressively drawing out the passion and innocence of the music. This was followed by their romantic playing of Wieniawski’s “Legend”, written for his girl friend in order to demonstrate to her parents their love, dreams and longings in courtship. Next was the sonata by Tartini known as “The Devil’s Trill”, which provided a sparkling demonstration of the expert violin technique and virtuosity, admirably supported by Imai. The cadenza was performed brilliantly with such confidence it had all the appearance of effortlessness.
Three well known pieces by Kreisler, which opened the second half of the evening, beautifully conveyed an atmosphere of wooing the ladies of old Vienna. In Prokofiev’s second sonata, this evocation of the happier and more hopeful time being experienced by the composer was brought to life in energetic performances by the duo. The great optimism of the Presto movement contrasted with the calm lyricism of the Andante, and was followed by the triumphant progress towards a dramatic finale.
The audience, which had been held spellbound throughout the evening, showed their great appreciation of the talents of these two internationally acclaimed musician, who are winners of several major International Music competitions and have performed in major venues around the world. The audience was rewarded by an encore of Debussy’s “Beau Soir.” We hope it will not be too long before we can hear them perform again.
Gwynneth and Derek Paine
Recital z Tadashi Imai (fortepian)
The evening opened with a grand performance of J Brahms’ Sonata for Violin and Piano in A major op 100 no.2. In this piece, violinist (Jaroslav Nadrzycki) and pianist (Tadashi Imai) soared expressively through the elongated, impassioned lines. Working as equal partners thematic material developed through wide-ranging effects: episodes of engaging dialogue, beautifully sustained notes on the violin and expressively shaped episodes by the pianist adjusting the weightness of the piano keys exactly were all features of this highly accomplished performance.
This was followed by the highlight of the evening . Sonata for Violin and Piano in D major op. 94 no.2 by Prokofiev. These versatile performers matched the extremes of Prokofiev’s piece wonderfully. Jaroslaw’s exquisite flutters of embellishment within the highly varied melodic line drew alternations of character, expression and articulation within single musical thoughts were matched exactly by the canny know-how and phenomenal technique of these excellent performers. Long sustained notes at the top of the range of the violin suspended extremely softly in the air, sweeping flourishes that flew right across the whole range of the instrument with ease and sonorous, suave melodies tinged with melancholy were a few of the violin’s effects. Tadashi Imai was right there with the violinist, sweeping though sudden changes from cheeky snatches and emphatic melodic episodes to moments of spirited jollity. With amazing perceptiveness and skill these two performers gelled as one, even in some of the most rapid and challenging passages. This was an amazing piece performed by amazing musicians.
After interval, in a lighter frame of mind, Kreisler’s popular Three pieces for violin and Piano were played. Schon Rosmarin, Caprice Viennois op.2, and Liebeslied were given fresh vitality and polish, the phrases rounded beautifully and effectively and every emotional tug of every sound fully explored. Other engaging pieces followed Wieniawski’s emotive Legende op 17 and Ravel’s passionate and virtuosic Tzigane Rhapsodie de Concert. The encore, Beau Soir, by Debussy was justly deserved and brought this fine evening to a calm and atmospheric close.
Promise aplenty from a young Polish violinist
Polish player Jaroslaw Nadrzycki, 27, is relatively little known outside his homeland, but took first prizes at the Khachaturian violin competition in Armenia in 2010 and the Enescu competition in Bucharest in 2009. He has a slightly splashy tone but he tackles the opening virtuosic works with boundless energy, in a recording with a nicely spacious feel. Tartini’s ‘Devil’s Trill’ Sonata whips along in fine style, with Nadrzycki showing his technical proficiencies in every leap and fleet-fingered manoeuvre. Wieniawski’s Polonaise brillante is full of bravado and swagger, and the soaring cantilena is full-throated and rich. Pianist Tadashi Imai fades into the background just as he should, giving neatly detailed support.
The Enescu Third Violin Sonata provides some welcome relief from the fireworks. Shot through with folk-inspired phrases and motifs, its sultry melodies are suitably romancing in Nadrzycki’s capable hands, and Imai’s delicate pianism manages to bring out the cimbalom-like air of the piano accompaniment beautifully. If there is one criticism, it is that there’s not a strong sense of the over-arching structure, particularly in the opening movement – Nadrzycki doesn’t maintain momentum through its expressive phrases. The final movement does have more dramatic pull, and the players bring satisfying intensity to its thundering climax.
Prokofiev’s joyful Sonata in D fares better. Nadrzycki rises to the occasion with the chimerical romancing of the opening, and the strutting third movement is dashed off with dance-like effortlessness. The recording allows Nadrzycki’s musical voice to emerge, though it may not have the dark appeal of a reading like, say, Gidon Kremer’s.
22.06.2013; Warszawa, Studio Koncertowe Polskiego Radia im. W. Lutosławskiego
Koncert pod dyrekcją Maestro Tadusza Wojciechowskiego
Koncert Polskiej Orkiestry Sinfonia luventus w Studiu Radiowym im. Witolda Lutosławskiego to zawsze ciekawe wydarzenie, bowiem ta sala należy do najlepszych pod względem akustycznym, a zespół skupiający najzdolniejszych absolwentów wyższych uczelni muzycznych, którzy nie ukończyli 30. roku życia, jest w ciągłym rozwoju. Obecnie dyrektorem naczelnym orkiestry jest Tadeusz Wojciechowski. On też poprowadził koncert 22 czerwca.
W programie koncertu znalazły się dwa utwory symfoniczne Dymitra Szostakowicza i Koncert skrzypcowy Arama Chaczaturiana w wykonaniu solisty, też przed trzydziestką, Jarosława Nadrzyckiego. Uwertura uroczysta Szostakowi¬cza, będąca typowym tworem realizmu socjalistycznego, pozwoliła orkiestrze na dobre „rozegranie sił” i ukazanie walorów wszystkich grup instrumentów, ze szczególnym uwzględnieniem sekcji dętych. Tadeuszowi Wojciechowskiemu udało się wydobyć z Uwertury jej skrajności emocjonalne.Koncert skrzypcowy Chaczaturiana
Bardzo istotnym sprawdzianem orkiestry i dyrygenta była również druga pozycja programu – Koncert skrzypcowy Cha¬czaturiana w rewelacyjnej, młodzieńczej i wirtuozowskiej interpretacji Jarosława Nadrzyckiego. Ten świetny solista, pochodzący z doskonalej ,,kuźni” skrzypcowej prof. Jadwigi Kaliszewskiej z Poznania, jest juz zwycięzcą, kilku prestiżowych konkursów wiolinistycznych, wśród których wyróżnia się im. Arama Chaczaturiana w Erywaniu, dający dodatkowo spore szanse na rozwój kariery. Organizatorzy turnieju zapewniają laureatowi m.in. liczne występy w Armenii, a także towarzyszenie z koncertami Państwowej Orkiestrze Młodzieżowej Armenii (odpowiednikowi naszej Sinfonii luventus) w jej podróżach zagranicznych z udziałem sławnych dyrygentów. Do puli nagród konkursowych zaliczał się też warszawski występ z Sinfonią luventus, któremu patronowało Ministerstwo Kultury Armenii, a w planach jest też koncert prowadzony przez gwiazdora współczesnej dyrygentury Valerego Giergiewa. Opieka armeńskich instytucji nad naszym solistą mogłaby być zatem dobrym przykładem dla rodzimych organizatorów konkursów muzycznych.
Bogato instrumentowany Koncert Chaczatu¬riana byt wyzwaniem dla zespołu, ale priorytetem powinno być wrażliwe towarzyszenie soliście, a nie zagłuszanie go, zwłaszcza w I części przez grupę wiolonczel. Zarówno muzycy orkiestry, jak i dyrygent powinni słuchać pięknie brzmiącego instrumentu wiodącego, a Jarostaw Nadrzycki gra na odziedziczonych po swej profesor skrzypcach ,,złożonych” z dwojga starszych – prawdopodobnie starowłoskich. Dopiero w II części koncertu, śpiewnym Andante sostenuto, zespół dał większe szanse ,,wybrzmienia” skrzypkowi. Nadrzycki potwierdził swą nieprzeciętną muzykalność i walory wirtuozowskie w zagranym na bis Scherzu Fritza Kreislera.
Frazy fagotu, fletu, klarnetu, trąbki, fortepianu, celesty
Podsumowaniem wieczoru była zagrana po przerwie V Symfonia Dymitra Szostakowicza. Tadeusz Wojciechowski poprowadził dzieło z pamięci, zaś orkiestra, najwyraźniej przejęta ładunkiem emocjonalnym zapisanym przez kompozytora w partyturze, dała słuchaczom posmakować natchnionej twórczości Rosjanina. Dyrygent zwrócił uwagę na nerwowy, pełen kłującego bólu sposób narracji przy ekspozycji tematów w części I Moderate, który rozpoznaje się już po kilku taktach, ale talent artysty wypłynął w części III Largo, gdzie znakomitym wsparciem byty solistycznie potraktowane frazy fagotu, fletu, klarnetu, trąbki, fortepianu, celesty, i tutaj młodym muzykom Sinfonii luventus należą się wielkie brawa. Cały zespół dobrze zrozumiał, jak ogromny ładunek estetyczny niesie dzieło Szostakowicza, jak wstrząsające wrażenie może zrobić na słuchaczach. Wykonanie V Symfonii należy zaliczyć do znakomitych kreacji artystycznych, godnych uwiecznienia na płycie.Źródło: Joanna Tumiłowicz, Twoja Muza, „Sinfonia Iuventus w radzieckiej muzyce”, NR 4 (59), sierpień-wrzesień 2013
MDR i Järvi czyli festiwalowe fajerwerki 27 Marca 2013
“Yesterday, when I was listening to the sound of his violin, to the full and strongly saturated, red-blooded – one could say – tone, I could not believe that it is an interpretation of an, after all, young artist. Violin Concerto No. 2 is a difficult, demanding work. A work, which the composer wrote having in mind one of the greatest violinists of our Times – Anne-Sophie Mutter. Nadrzycki, however, turned out to be a fantastic performer of this work. “
A couple of sounds sufficed and all became clear – these are the real stars of symphonic music! Compositions of Johannes Brahms, Krzysztof Penderecki and Ludwig van Beethoven were performed at the 17th Ludwig van Beethoven Easter Festival by the MDR Leipzig Radio Symphony Orchestra under the baton of Kristjan Järvi.
There was a thrill of excitement about this concert from the start. Not only because of the accompanying ceremony of signing the contract of collaboration between Polish TV, Polish Radio and the German radio-TV broadcasting station Mitteldeutscher Rundfunk (the MDR Leipzig Radio Symphony Orchestra performs under its wings). Most of all because we have great respect and esteem for Kristjan Järvi’s whole musical family (both his father Neeme Järvi and brother Paavo Järvi are conductors), as well as for his ensemble. Taking the position of the first conductor of the Leipzig orchestra, Järvi became the latest in the illustrious line of personalities including Hermann Abendroth, Herbert Kegel, Wolf-Dieter Hauschild, Fabio Luisi and Jun Märkl. Is he a worthy successor? After yesterday’s concert, the firework of the festival, probably nobody has any doubts. For faithful listeners and admirers of the ensemble and its conductor, it is obvious. For those who listened to them live for the first time, it probably became clear after first couple of notes of Johannes Brahms’ Academic Festival Overture, Op. 80, which opened the evening. Each phrase, each sound, each moment of the dynamic narration sounded perfectly. And when finally from the stage came the well-known, pompous sounds of the hymn “Gaudeamus igitur” we could shout out loud: these are the masters of symphonic music.
A strong caesura, as if a transfer to a different world was Krzysztof Penderecki’s Violin Concerto No. 2 “Metamporphosen”. This happened mainly thanks to the performer of the solo part – Jarosław Nadrzycki, who debuted three years ago in the same piece conducted by the composer himself. Yesterday, when I was listening to the sound of his violin, to the full and strongly saturated, red-blooded – one could say – tone, I could not believe that it is an interpretation of an, after all, young artist. Violin Concerto No. 2 is a difficult, demanding work. A work, which the composer wrote having in mind one of the greatest violinists of our Times – Anne-Sophie Mutter. Nadrzycki, however, turned out to be a fantastic performer of this work.
Kristjan Järvi was also surprising, since – what is there to hide – he specializes after all in a completely different current of classical music. Yet, he lead Penderecki’s composition thoughtfully and with appropriate drama. In the finale of the evening we returned to symphonic music of the 19th century. And when Beethoven’s Symphony No. 8 resounded (as well as numerous encores) the conductor was not hiding his emotions anymore. He was dancing, jumping, playing with the cheerful music, turning it at the same time into the most beautiful rainbow in the world. The orchestra was giving as good as it got, proving how much cheerfulness can be found in the music of the Vienna classic. There was no end to ovations, and the artists loved it. Only after the third, or maybe fourth encore, the conductor pushed the concertmaster with a brisk movement, probably thinking (or whispering): “Gather the orchestra! We are leaving! Otherwise, they will never let us out.” And they left, off to Krakow to grace with their performance the 40th anniversary of partnership between Krakow and Leipzig. Whereas in Warsaw, we will remember them for a long time. Because it was one of those concerts, which without doubt will stand on the podium of the greatest musical events of the year.