In Concert 20th March Violin Concerto by Raymond Yiu WORLD PREMIERE
Raymond Yiu was born in Hong Kong but finished his secondary schooling in Kent.
Whether in Hong Kong or living in London, as he does now, Raymond Yiu is an urban creature happy to live and compose surrounded by the noise and presence of fellow humans. He's reached fifty years old and has a back catalogue of compelling compositions across many genres. Raymond is a Jazz pianist. Some of his orchestral works have been recorded by the BBC SO and distributed by the Scottish label 'Delphian'
Esther Yoo was the soloist in the world premiere of the Violin Concerto by Raymond Yiu – a heartfelt homage to the memory of Ma Sicong, a great Chinese violinist who was persecuted by the Communist regime after 1966. Ma went into exile in the United States where he died during a high risk operation during 1987. (By then, the Chinese regime had pardoned Sicong. Later it published his recordings and created a Museum in his memory. Such is life and death.)
The Concerto tells a stirring story of sorrowing humanity and survival. Esther Yoo (29) was a BBC New Generation Artist a decade ago and has returned more recently to play at the BBC Proms. She has recorded a number of well-respected CDs.
The new, extended (40') violin concerto by Yiu interpreted by Yoo was compelling: colourful, sometimes intense but always engaging. The first movement was a fractured Prelude: snap-shots of introduction were led by the violinist; the movement established a Chinese ambience. The tuneful scherzo, based on Cantonese Pop music which Yiu loves, followed in skittish, pseudo café fashion. I heard shades of Façade and Shostakovich's Jazz Suites. The third movement was a lengthy ngthy, testing cadenza for the solonviolin. The movement was the emotional heart of the piece and Esther played it with immense commitment. The gravitas reminded me of the cadenza in Shostskovich's first violin concerto. The long finale was based on a tune by Sicong, himself knitted all that came before into unity.
I noted that the powerful orchestration was written with great care; it never occluded Yoo and her violin. I anticipated that Yiu's concerto might be as tiring emotionally as Ben. Frankel's violin concerto. That it wasn't was due to the breadth and humanity of Raymond Yiu's canvas: loneliness and exile in a world teeming with busy people doing their best to survive and going about their own affairs. I hope that the highly successful premiere was the first of many performances of this well-characterised work which deserves wide exposure. In no way is it forbidding or difficult. By the way , the work's coda was akin to a lark ascending free with a bit of support from the coda of 'Nali' Gruber's 1st violin concerto.
Whether in Hong Kong or living in London, as he does now, Raymond Yiu is an urban creature happy to live and compose surrounded by the noise and presence of fellow humans. He's reached fifty years old and has a back catalogue of compelling compositions across many genres. Raymond is a Jazz pianist. Some of his orchestral works have been recorded by the BBC SO and distributed by the Scottish label 'Delphian'
Esther Yoo was the soloist in the world premiere of the Violin Concerto by Raymond Yiu – a heartfelt homage to the memory of Ma Sicong, a great Chinese violinist who was persecuted by the Communist regime after 1966. Ma went into exile in the United States where he died during a high risk operation during 1987. (By then, the Chinese regime had pardoned Sicong. Later it published his recordings and created a Museum in his memory. Such is life and death.)
The Concerto tells a stirring story of sorrowing humanity and survival. Esther Yoo (29) was a BBC New Generation Artist a decade ago and has returned more recently to play at the BBC Proms. She has recorded a number of well-respected CDs.
The new, extended (40') violin concerto by Yiu interpreted by Yoo was compelling: colourful, sometimes intense but always engaging. The first movement was a fractured Prelude: snap-shots of introduction were led by the violinist; the movement established a Chinese ambience. The tuneful scherzo, based on Cantonese Pop music which Yiu loves, followed in skittish, pseudo café fashion. I heard shades of Façade and Shostakovich's Jazz Suites. The third movement was a lengthy ngthy, testing cadenza for the solonviolin. The movement was the emotional heart of the piece and Esther played it with immense commitment. The gravitas reminded me of the cadenza in Shostskovich's first violin concerto. The long finale was based on a tune by Sicong, himself knitted all that came before into unity.
I noted that the powerful orchestration was written with great care; it never occluded Yoo and her violin. I anticipated that Yiu's concerto might be as tiring emotionally as Ben. Frankel's violin concerto. That it wasn't was due to the breadth and humanity of Raymond Yiu's canvas: loneliness and exile in a world teeming with busy people doing their best to survive and going about their own affairs. I hope that the highly successful premiere was the first of many performances of this well-characterised work which deserves wide exposure. In no way is it forbidding or difficult. By the way , the work's coda was akin to a lark ascending free with a bit of support from the coda of 'Nali' Gruber's 1st violin concerto.
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