Nigel Kennedy
Nigel Kennedy, the well documented 'enfant terrible' of the classical music world - but where would we be without him? The greatest virtuoso violinist the UK has ever produced and I salute him! He may be crude sometimes but no one can doubt his talent, ingenuity and virtuosity!
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Nigel Kennedy was born in Brighton and was a pupil at the Yehudi Menuhin School, he was tutored by the legendary Menuhin himself, and later at the Juilliard School under Dorothy DeLay. His unique talent and improvisational technique has done much to popularise classical music, particularly among young people.
Now, for over twenty-five years, Nigel Kennedy has been acknowledged as one of the world's leading violin virtuosos and is one of the most important violinists Britain has ever produced. His virtuosic technique, unique talent and mass appeal have brought fresh perspectives to both the classical and contemporary repertoire. He is the best selling classical violinist worldwide.
Kennedy's career has taken him across four continents, performing with the world’s major orchestras and conductors and appearing at the most important classical festivals in Europe and the United States.
His major debuts include his 1977 London Royal Festival Hall performance of Mendelssohn’s Violin Concerto, with the Philharmonic under Riccardo Muti , his debut with the Berlin Philharmonic in 1980 and his New York orchestral debut in 1987.
Nigel Kennedy's multi-award-winning discography is extensive. He has made two highly-acclaimed recordings of Elgar’s Violin Concerto; the first, with the London Philharmonic and Vernon Handley, achieved gold disc status, was voted 1985 Record of the Year by Gramophone magazine and was awarded Best Classical Album of the Year at the BPI Awards, selling in excess of 300,000 copies.
His recordings of the Brahms and Beethoven violin concertos have each sold over 100,000 copies and his landmark recording of Vivaldi's 'Four Seasons' earned a place in the Guinness Book of Records as the best-selling classical work of all time. Indeed it was his Four Seasons recording that endeared me to him foremost. Always one never to conform with the "stuffiness" of the classical world, Nigel always did his own thing, refusing to conform to protocol by wearing his own unique creations - a shake-up for the starchy upper class - but his virtuosity was never in doubt and was the factor that allowed him to triumph over adversity and endeared him to the younger generation.
When not touring, he divides his time between residences in Malvern, Worcestershire and Kraków, Poland with his wife. Nigel is a staunch supporter of Aston Villa Football Club and is indeed a Director there but always chooses to watch matches on the terraces amongst fans rather than in a Directors' Box! Now, does that surprise you?
His first-ever Mozart recording with a fresh perspective on the Beethoven violin concerto was recorded in 1992. He collaborated again with the Polish Chamber Orchestra, of which he has been Artistic Director since 2002. In his latest re-recording he directs the orchestra from the violin in both concertos to achieve a more direct communication of the orchestra members and the cadenzas are very much his own.
Kennedy says the main reason for re-approaching the Beethoven concerto is that today, he hears the piece as having more rhythmic vitality which he wants to bring out in his new recording, despite still cherishing his first recording with Tennstedt, which he said had a more old-fashioned, romantic approach and was played slower.
Now, for over twenty-five years, Nigel Kennedy has been acknowledged as one of the world's leading violin virtuosos and is one of the most important violinists Britain has ever produced. His virtuosic technique, unique talent and mass appeal have brought fresh perspectives to both the classical and contemporary repertoire. He is the best selling classical violinist worldwide.
Kennedy's career has taken him across four continents, performing with the world’s major orchestras and conductors and appearing at the most important classical festivals in Europe and the United States.
His major debuts include his 1977 London Royal Festival Hall performance of Mendelssohn’s Violin Concerto, with the Philharmonic under Riccardo Muti , his debut with the Berlin Philharmonic in 1980 and his New York orchestral debut in 1987.
Nigel Kennedy's multi-award-winning discography is extensive. He has made two highly-acclaimed recordings of Elgar’s Violin Concerto; the first, with the London Philharmonic and Vernon Handley, achieved gold disc status, was voted 1985 Record of the Year by Gramophone magazine and was awarded Best Classical Album of the Year at the BPI Awards, selling in excess of 300,000 copies.
His recordings of the Brahms and Beethoven violin concertos have each sold over 100,000 copies and his landmark recording of Vivaldi's 'Four Seasons' earned a place in the Guinness Book of Records as the best-selling classical work of all time. Indeed it was his Four Seasons recording that endeared me to him foremost. Always one never to conform with the "stuffiness" of the classical world, Nigel always did his own thing, refusing to conform to protocol by wearing his own unique creations - a shake-up for the starchy upper class - but his virtuosity was never in doubt and was the factor that allowed him to triumph over adversity and endeared him to the younger generation.
Winter Vivaldi
When not touring, he divides his time between residences in Malvern, Worcestershire and Kraków, Poland with his wife. Nigel is a staunch supporter of Aston Villa Football Club and is indeed a Director there but always chooses to watch matches on the terraces amongst fans rather than in a Directors' Box! Now, does that surprise you?
His first-ever Mozart recording with a fresh perspective on the Beethoven violin concerto was recorded in 1992. He collaborated again with the Polish Chamber Orchestra, of which he has been Artistic Director since 2002. In his latest re-recording he directs the orchestra from the violin in both concertos to achieve a more direct communication of the orchestra members and the cadenzas are very much his own.
Kennedy says the main reason for re-approaching the Beethoven concerto is that today, he hears the piece as having more rhythmic vitality which he wants to bring out in his new recording, despite still cherishing his first recording with Tennstedt, which he said had a more old-fashioned, romantic approach and was played slower.
Listen out for the Mozart cadenza which definitely gives the piece a contemporary edge. It was recorded with his electric violin and Kennedy expresses in it what the concerto means to him personally and wants to open listeners' minds to change their view of the piece. He has also introduced a harpsichord to the work which adds warmth and gives it even more life.
Mozart Violin Concerto with Polish Orchestra
The Cadenza is the most innovative thing I have ever heard!
There's still much to admire in Kennedy's efforts to open classical listeners' ears to other traditions, and to jettison some of the starchier aspects of concert hall protocol. Yes, the swearing is juvenile, but didn't shock the Promenaders when the conductor Paul Daniel was happy to play along with the violinist's banter about the late arrival of the concerto score back along!
Latterly Kennedy has been living in Poland, exploring the country's rich musical heritage - and he has also been teaming up with some of Poland's finest jazz musicians. He is notorious for the improvisatory elements in his performances, especially in his jazz and fusion recordings. He has recently been performing with Polish jazz band Kroke.
Unique Concert
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