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​​                                                                   NIGEL'S  DEDICATIONS


Steve Cox has kindly sent me this list of Nigel's Dedications:


Below is the list of Dedications original titles...Dla Jarka, Gibb It and Solitude have been recorded but not yet released.
Dedications:
Dla Jarka - for Jarek Smietana
Melody in the Wind - for Stephane Grappelli
Fallen Forest - for Isaac Stern
Gibb it - for Mark O'Connor
Solitude - for Yehudi Menuhin

Melody in the Wind, Fallen Forest and Solitude are on Nigel's album KAFKA but he has rethought these pieces so they may not sound quite like you've been hearing them at the concerts. I'll let everyone know when the recorded pieces are released



NIGEL WHEREVER WE FIND HIM

​​​​​​​                                      TWO COMMENTS FROM FANS IN MUNICH

1.  Nigel, your concert last night in Munich was breathtaking and it was the most joyous concert ever! Goose bumps for 3 hours. The mastery of music in person! I loved it! Thank you so much.

2. Thank you, Nigel and orchestra, for a fantastic experience in Munich! Now I finally understand what music is...sounds from the universe which a genius transforms into something we can hear and feel. 


 
                                        NIGEL PLAYS VIVALDI AT BRISTOL'S COLSTON HALL


 
Ivan Hewett writes for The Telegraph:

The violinist launched his new version of Vivaldi’s Four Seasons in typically bold style

The question that haunts any gig by world-famous violinist Nigel Kennedy is: will he appear in that terrible Aston Villa shirt, which now looks as old as his famous recording of Vivaldi’s Four Seasons, released more than 30 years ago?

The answer last night was: of course, he did. But being Nigel, he tucked it under another shirt of equally ancient vintage, and gave us only a naughty two-second flash. Yes, the Peter Pan of the classical world was back, hair in a state of perpetual electric surprise, bobbing and lunging like a puppet on speed, giving his players a triumphant fist pump after every number.

On that level, Nigel Kennedy is always the same. On another he’s always different, always restlessly exploring. This concert launched his new version of Vivaldi’s Four Seasons. The first had blazed with virtuoso energy, but was faithful to the original. 

This new one – created for a mixed ensemble of nine string players, piano, bass and drums – interleaves jazz, folk and blues-flavoured links between the movements. These things invade Vivaldi’s score, albeit in a way which Kennedy believes is faithful to the wildly rhapsodic, semi-improvised spirit of the original.                            

That filled the concert's second half. Before that Kennedy offered four tributes to musicians he admires. One of them evoked Stéphane Grappelli, Kennedy’s jazz violin God, in a sweetly elegiac number which at one point nearly tipped into Fiddler on the Roof.

For Polish jazz guitarist Jarka Smietana, Kennedy played a delightfully nostalgic number with swooping glissandi like night birds calling. 

Mark O’Connor, blue-grass violinist, was saluted in a wild stomping number, Gibb It.

 Most revealing of all was the piece for great classical violinist Isaac Stern. This had a lovely tranced middle section, where time seemed to stop; it was like a gauche version of the mysterious static moment in Elgar’s violin concerto, another star in Kennedy’s Empyrean

 All these aspects of Kennedy’s puzzling, endearing musical personality came tumbling out in his New Four Seasons. Often they were flung together cheek-by-jowl with no transition, like the rhythm-and-blues pattern that kept shoving aside Vivaldi’s swaying rhythm in Autumn. The slow movement of Spring had a dark harmonic flavour that wasn’t so far from John Barry’s 007 score.

The piano wasn’t always a happy addition – sometimes it gummed up the texture and took the edge off Vivaldi’s strangeness - but it certainly gave a startling change of harmonic colour at times, such as the last movement of Winter.

Was this disrespectful to Vivaldi? Perhaps, but only on the surface. “You respect, I love,” Stravinsky once said to someone who accused him of “disrespecting” the older composers he adapted. Nigel Kennedy could say the same.

 
                                                            (To read this in its original setting, click HERE)

           
                                             COMMENT FROM A FAN : NIGEL AT THE ROYAL FESTIVAL HALL


Jane Addy writes:

On the long journeys through France for our summer holidays with our children we used to play tapes to add some stimulation.   Now our children are in their 30's and the only one they remember us playing is the 4-Seasons - constantly!!!

Our daughter bought us 2 tickets for the 29th.   Since over the years countless firms have adopted one of the seasons to play whilst dangling us on the end of a line, we were looking forward to a more exciting version.   We were not disappointed. . ....  Well, what a fantastic evening............the superb first half took us to a different place - great pressure of expectation for the second - the energy of the players exploded around the Hall.......... we loved the enthusiasm Nigel had for playing and for the other musicians.   The foot stamping, the laughter, the jokes with the players and audience - the amazing talent of all the musicians - the gracious appreciation Nigel had for them - it was simply an awe-inspiring evening that made you feel so alive!!!  How amazing to manipulate a violin into so many moods.

Please thank him for such entertainment!!