Yeah, man, she was great - so focused and intense. Some of those extended scales in the latter half were flipping insane! At one point, it crossed my mind that they could have ended up sounding 'just' virtuoso, if you know what I mean, but the way she expressed herself took it to the next level. I will likely run a few searches to see what else she's done, ditto the lady conductor - how nice to see one for a change! Cheers, dude, I enjoyed that.
This was a curious experience insofar as I wasn't nearly as captivated and expected to be. She's got chops, no doubt, but there was something a bit gung ho about her interpretation, maybe even a bit detached, I dunno. Hard to explain. I'm actually wondering if it's because
November is one of my favourite pieces by Max Richter and I know the studio recording very well, ergo being so used to that version over the years, maybe that's why it didn't gel? Food for thought, definitely. I've since bookmarked her for further listening and also plan to research live versions by different violinists, assuming there are more available, and with a few key questions in mind. For example, is it her playing style generally or just this recital? Will performances by others sound a bit 'off' to my ears too? Etc. My kinda rabbit hole
, so again, thanks for sharing.
EDIT:
Oh yeah, this is me tonight - I think I might have posted it in Now Playing a while back, but on reflection, deserves a mention here too. The album is called
Officium and unfortunately I can't find a full upload to post, but my goodness, how I have rinsed it since stumbling across this recording on the soundtrack for a TV series some months ago.
Rinsed. Gregorian-style chant with sax?? It really shouldn't work, but I loved it so much, I bought the disk and it has been a Go To ever since. So haunting and beautiful, if you get the chance to hear the whole thing, I highly recommend it.