I was quite transported by the Partita. I found myself in equal admiration of JSB (what a piece) and the way NK had got to the heart of it. I was surprised to be un-bothered by the Kennedy corybantics.
HIP but not HIPP...our Nige at the Proms
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Al R Gando
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i find kennedy's renunciation of anything that marks the establishment in appearance and speech admirable if somewhat unappealing ... however he is an artist and deserves the respect and courtesy that requires such things to be put aside ... this was a deeply serious and brilliant performance, playing of deep concentration and sensitivity with bravura where needed ... an incredible combination of 'flow' and control ... for me one of the best proms this yearAccording to the best estimates of astronomers there are at least one hundred billion galaxies in the observable universe.
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Originally posted by aka Calum Da Jazbo View Posti find kennedy's renunciation of anything that marks the establishment in appearance and speech admirable if somewhat unappealing ... however he is an artist and deserves the respect and courtesy that requires such things to be put aside ... this was a deeply serious and brilliant performance, playing of deep concentration and sensitivity with bravura where needed ... an incredible combination of 'flow' and control ... for me one of the best proms this year
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and I'm still not sure about 18th century baroque pieces being played with gushings of rubato,
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well for the avoidance of doubt i was referring to the partita in d min and the prelude ....
the 'jazz' was ordinary but highly accomplished and fun ... i liked the bass player ...According to the best estimates of astronomers there are at least one hundred billion galaxies in the observable universe.
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Ariosto
Stop being so elitist and snobby
The bass player was wonderful, and NK's playing ws a lot of fun. He appreciates other real musicians as well, and his sense of humour is better than a lot of so called "comedians."
There is no British player (or non-British for that matter) that could stand there and give such a committed and musicianly performance of the Unnacompanied Bach. Even if I very occassionally would have played the odd bar differently myself, I respect his point of view.
Kennedy can play any British violinist in the last 40+ years into the ground, and the other's (including some dire foreigners) are only comparitively at about ASBRSM grade III level.
I've just got a secondhand copy of his CD made in 1990 of the Brahms concerto with Tendstedt, and I'm really knocked out by it. Two really outstanding musicians collaborating and Brahms is the winner. Great performance.
And I totally agree with Nigel's criticism of HIP and also of conductors. His is a voice in the wilderness.
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Al R Gando
Originally posted by aka Calum Da Jazbo View Posthowever he is an artist and deserves the respect and courtesy that requires such things to be put aside
Instead he confines himself to personal attacks on his colleagues, suggesting that they're incapable of playing baroque music, and implying that this repertoire should be reserved for himself alone. Unwilling to be bothered with any of the research or first-hand source material of the period, he dismisses it all with his ever-burgeoning hubris.
I wonder how orchestral players who work with him feel about being told that they're no-hopers? It's all very unattractive indeed, and I suspect this curmudgeonly misanthropy (writing-off entire nations-full of violinists with a wave of his hand) bodes ill for his future.
I will stick with Rachel Podger, Andrew Manze, OAE, Mullova, Biondi, Giardino Armonico, Mutter, Kremer, Cafe Zimmermann, Red Priest, Joshua Bell, the greatly-missed Monica Huggett, and others whose performances enthrall and inspire me. I can't listen to Kennedy any longer - his bilious attacks on his fellow musicians have tainted his performances for me. His monstrous ego is too large for my cd-player these days. Music is about something a lot bigger than one man's overweening ambition.
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Ariosto
Originally posted by Al R Gando View PostRespect and courtesy which he does not extend to others, regrettably.
Instead he confines himself to personal attacks on his colleagues, suggesting that they're incapable of playing baroque music, and implying that this repertoire should be reserved for himself alone. Unwilling to be bothered with any of the research or first-hand source material of the period, he dismisses it all with his ever-burgeoning hubris.
I wonder how orchestral players who work with him feel about being told that they're no-hopers? It's all very unattractive indeed, and I suspect this curmudgeonly misanthropy (writing-off entire nations-full of violinists with a wave of his hand) bodes ill for his future.
I will stick with Rachel Podger, Andrew Manze, OAE, Mullova, Biondi, Giardino Armonico, Mutter, Kremer, Cafe Zimmermann, Red Priest, Joshua Bell, the greatly-missed Monica Huggett, and others whose performances enthrall and inspire me. I can't listen to Kennedy any longer - his bilious attacks on his fellow musicians have tainted his performances for me. His monstrous ego is too large for my cd-player these days. Music is about something a lot bigger than one man's overweening ambition.
I've recently spoken with orchestral players who have and are working with him and I never hear any of the BS that you are attributing them with.
And quite a lot of those fiddlers you mention I would pay to avoid. (Not quite all).
He follows in the great Menuhin tradition. And he has spent years studying the Bach, and he can at least play the notes and in tune which is more than the likes of Manze can, who sounds like a year one beginner.
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Ariosto
I'm pleased you agree. You obviously understand what I'm saying.
PS Are you a string player? An orchestral msusician? Do you play the D minor Partita?
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