![]() ![]() It was only as a teenager that he discovered the violin, writing “When I play, I am filled with a strange feeling it is as though the insides of the music opened up to me.” He dreamed of becoming a virtuoso violinist and seriously pursued a performing career through his early twenties. Sibelius was a troublesome student, however his habit of improvising instead of practicing his etudes would often earn him “raps across the knuckles.” He never really took to the piano. ![]() As for Fenella Humphreys, she has this music in her blood.Jean Sibelius’ first musical instruction came in the form of piano lessons from his aunt Julia. The synergy between violinist and conductor is palpable, and the orchestral playing is of the highest order. This is a perfect marriage between soloist, conductor and orchestra. These are thrilling performances in demonstration sound quality. There’s a cadenza towards the end, which certainly doesn’t feel out of place. Vass is fully supportive, and achieves some magical moments pointing up the woodwind lines. Humphreys caresses the lines with ardent fervour. Lyrical and melodically generous, the violin soars and is wafted along in the breeze. The tenor of the music is gentle, warm, intimate and comforting. Josephson packs much into this nine minute work. Josephson’s Celestial Voyage comfortably complements the Sibelius selection. 5, with Humphreys’ harmonics crystal clear and luminescent.Ĭredited with a completion of Bruckner’s Ninth, American musicologist and composer Nors S. Sibelius injects some pawky humour into No. ![]() The first pitches introspection against flights of fancy, whilst the second is athletic and capricious. I only hope that Humphrey’s convincing readings will help project them into the limelight. Each is a masterful and whimsical invention. Quite why they’ve been neglected in the the concert hall and the recording studio baffles me. They’re magical works and, if you’ve not heard them, you’ll quickly fall under their spell. 89, it was the composer’s wish that they be performed together. Vass contributes inspirational and atmospheric support throughout.ĭespite the fact that the two groups of Humoresques were published separately as Op. There’s an ideal sound balance struck between orchestra and soloist. The slow movement captures the music’s dark, brooding and introspective qualities, and the finale showcases some fearsome virtuosity, working up a real head of steam. Power and virtuosity sit comfortably with rapt expression and savoured lyricism, maintaining the work’s epic stature. All of the works feature the violin, and the recording enlists the services of British violinist Fenella Humphreys, winner of the 2018 BBC Music Magazine instrumental Award and a champion of new and unknown music.Īlthough the performance of the Violin Concerto enters a crowded playing field, Humphreys’ reading stands up well, evoking both Nordic chill and magnificent landscapes. The executive producer is Edward Clark, president of the Society. This recording has been issued under the auspices of the Sibelius Society UK in association with BBC Radio 3 and the BBC National Orchestra of Wales. 89 for Violin and Orchestra (1917) īBC National Orchestra of Wales/George Vass Violin Concerto in D minor, Op.47 (1903/05) Support us financially by purchasing from ![]()
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