Warmth, vitality, and energy suffused her playing, which even at times dared to exude a sultry feel. The extended first movement, which in lesser hands can often meander due to its lack of contrasts, here held the listener spellbound. Overflowing with exuberance, Lamsma stamped her personality across the whole score. ….Lamsma is a highly-regarded artist, having garnered excellent notices from her performances with some of the most high-ranking orchestras across the globe, and on the evidence of this coruscating interpretation of Tchaikovsky’s homage to the violin it is not hard to see why. Gianandrea Noseda, conductor Tchaikovsky – Violin ConcertoĮssentially an all-Russian affair, this was an exemplary performance from Lamsma, Noseda and the LSO” Perfectly chosen and perfectly executed, with the loveliest purity of tone and line….”įull review Colin Clarke – Seen and Heard International Stunning.Īn encore from Lamsma – the Largo from Bach’s Sonata for Solo Violin in C, BWV1005, hypnotic and a moment of stillness much needed after the Shostakovich.
Shokhakimov ensured the dark storm clouds of Shostakovich’s scoring loomed dangerously over Lamsma’s virtuosity. The final movement (Burlesque) again made no compromises, fearlessly fast, with wind in complete accord with the soloist in the tricky exchanges. The cadenza between the final two movements was awesome in the literal sense, a tour-de-force, Lamsma’s stoppings real expressions of emotional pain, the whole shaped perfectly. Shostakovich’s mighty way with the passacaglia form is writ large here, its unstoppable slow momentum enabled via Shokhakimov’s rock-solid rhythm. The orchestral contributions here gave a hint as to what Shokhakimov might bring to Shostakovich symphonies and when Lamsma entered, her tone took us straight back to the profound ruminations of the first movement. The Passacaglia third movement carried the weight of the world on its shoulders. The third and fourth movements are notable not only for their power but for the cadenza that connects them. The music sounded as if it would explode two single claps from the audience at the movement end implied someone was inspired to break a social norm, at least for a moment!
Lamsma and the pizzicato Strasbourg strings found a danse macabre here, later creating a sense of manic jubilation. The Scherzo, too, was no mere ‘joke’ as its name implies: resolute, impeccably together and frankly, hell-for-leather. It is a long lament, and concentration never once flagged timbrally, too, this was an orchestra transformed, bright and breezy in the Prokofiev ‘Classical,’ shadowy and ominous in the Shostakovich concerto. Lamsma clearly sees the first movement as one long melodic thread and, supported by Shokhakimov and his players, the first movement became an extended lament. And indeed, there was no doubting that she is attuned to the world of the opening Nocturne – long lines were despatched with blanched tone, the low strings dark and ominous, the orchestra shifting threateningly underneath. That recording certainly impressed Shokhakimov (he joked, ‘my compliments to this record’) and he certainly seemed delighted with Lamsma after their rehearsal. Within a few hours, they had found a replacement, and Simone Lamsma took over – Lamsma has recorded a notable Shostakovich First (coupled with Gubaidulina’s violin concerto In Tempus praesens, both with the Netherlands Radio PO – James Gaffigan conducts the Shostakovich: see the MusicWeb International review here). ….The original violin soloist for the Shostakovich, Patricia Kopatchinskaya, cancelled with two days notice. What is most striking about Lindberg's concerto is the way in which its thematic and harmonic materials are so compellingly integrated so that every gesture and harmonic shift seems totally organic and logical, and how he generates textures of such tonal richness and complexity from an orchestra of barely Mozartean size.Aziz Shokhakimov, conductor Shostakovich – Violin Concerto no.1
Pairing it with the Sibelius concerto makes total sense, for Lindberg's work is permeated with glancing references to his compatriot's work, not in a reverential or derivative way, but simply as a nicely judged act of homage. It seemed, then, to be a major addition to the concerto repertory, the best new work for violin and orchestra to emerge in many years, and that impression is reinforced by Batiashivili's recording with Sakari Oramo and the Finnish Radio Orchestra. T wo months ago at the Barbican in London, Lisa Batiashvili was the soloist in the UK premiere of the violin concerto that Magnus Lindberg completed for her last year.
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