- FANS' NEWS - 6 -
click on the date to read the article
Hong Kong, One-Two-Three-Four , it's David Garrett 18th and 19th Apr
Wow wow wow! David Garrett on New York Public Television 8th Apr
David Garrett brings out the depth of feeling in Bruch's Violin masterpiece 19th Mar
Ich Habe dich gesehen und es geschah und es gibt kein vergehen 6th March
Italy, Como: David Garrett with the Orchestra 1813 8th February
Italy, Bologna: with Band and Züricher Kammerorchester 6th February
Switzerland, Zurich: David, Band and Züricher Kammerorchester 5th February
Germany, Cologne (Köln) , David Garrett plays and conducts 1st February
Point of view of a musician who toke part in a rehearsal with David ! 1st Feb
Gestern spielte David seine Vivaldi 4 Jahreszeiten in der Phiharmonie Köln. Er spielte mit dem Mitteldeutschen Kammerorchester, ein kleines Orchester (ca. 15 Personen), welches vom Konzertmeister Herrn Hartmann bzw. dem Solisten, in diesem Fall David dirigiert wird.
Dieses Konzert war so kurz nach seiner rockigen Encore-Tour und ich habe mich vorher gefragt, wie David sich so schnell umstellen kann und dieses Konzert als rein klassisches spielen wird. Er hat mich nicht enttäuscht!!
Er kam auf die Bühne und es gab bereits tosenden Applaus. David trug den wunderschönen Anzug, den er auch auf dem Foto im GQ-Magazin anhatte. Ein Notenständer mit der kompletten Orchesterpartitur stand vor ihm. Er drehte dem Publikum kurz den Rücken zu, dirigierte mit seiner rechten Hand einen Takt, gab den Einsatz und das Konzert fing an.
David spielte einfach brilliant, er spielte mit zarten Tönen, dann wieder energisch, ganz wie es die einzelnen Sätze erfordern. Er harmonierte sehr gut mit dem Orchester. nur im 3. Satz dem Herbst gab es an manchen Stellen kleinere Probleme, als das Orchester im Tempo nicht ganz bei ihm war. David spielte wunderbar, es klappte alles und obwohl er müde aussah schien ihm alles sehr viel Spaß zu machen.
Es ist eine Freude David beim Spielen zuzusehen, wie er in die Musik eintaucht, seinen Gesichtsausdruck, seine Finger, zu beobachten.
Das Publikum war eher älter, aber alle waren begeistert. Ein Ehepaar neben mir sprach zwischen den Sätzen ständig über sein Spiel. Wir wollten ihn nicht von der Bühne lassen und zum Schluss spielte er als Zugabe aus dem 2. Violinkonzert von Johann Sebastian Bach den 3. Satz!!!
David als ganz klassischer Musiker, ein Traum!
Birgit, official forum
David at the Koln Philarmonie, February 2009
It was only a matter of days after David had finished his highly successful “Encore” tour that he returned to his pure classical work with a polished and energized performance of Vivaldi's “Four Seasons”.
The concert at the Koln Philarmonie was a rearranged concert, following David's cancellation of the Christmas performance because of his illness. The new date had sold out within a couple of weeks, with priority given to those who had been disappointed in December. A critic asked a question about Joshua Bell's new recorded version of the popular Vivaldi - “Is there any need for another Four Seasons” and he answered yes to that question about Joshua. If you ask the same question about David's version, the answer would be an even more emphatic YES.
David is famed for his accuracy, speed and lightness of touch and that, along with wonderful gentle or darker passages, made this a performance to remember. There were only one or two stumbles - more as a result of members of the orchestra not quite being able to keep pace with his breathtaking speed.
This was a traditional version of the piece. None of the more modern adaptations of “Winter” or “Summer” that David has included in his rock repertoire were in evidence and it was surprising to hear a return to a traditional Summer, played with a gentle evocative touch, after the unashamedly strong rock number that had become David's crossover hallmark.
Close your eyes (if you can) and you can see Vivaldi's landscape. Listen precisely to the fluttery high passages and the slower moody sections. This was a purist's interpretation, with emotion and honesty.
This was also a new venture for David - the conductor. He used his eyes, smiling and charming the individual musicians and drawing them into his world. At one point he abandoned the bow to bring in the later section, but that was clear and firm and with grace - and he imperceptibly picked up the bow again to lead them forward. He knew what he wanted and he communicated this with passion - and they responded.
There was none of the dramatic staging, technological aids or rockstar trappings. David proved that he needs none of these to excel as a virtuoso. This was just a marvelous Vivaldi.
Hy all your lovley ones.
For me it is not the first time to play with such a well-known personality, but its still something special to play with him. Firstly, because otherwise I often / usually sit in the symphony orchestra, under a conductor who directs all of the soloists and accompanied, on the other, still-ca.80andere because people sit on the stage. The whole is then not quite so "sensitive" as if man nurmit a small chamber orchestra playing there, where in principle each soloist, and must respond immediately without having a conductor over.
On the other hand, because he is also a very special type. I must say that I have mixed feelings on the matter'm gone. He is in the "classical" scene quite differently in conversation, often he is called and described as a "show" type and not always very seriously. I knew him even before that, of stories and was very excited about what I expected.
The whole running around so that we, after a very early morning from Saxony and Thuringia drive to cologne (the night before, I had Don Pasquale premiere in Weimar National Theater premiere party included ...:-)) On 1pm we had for a short rehearsal with the other pieces and at 3pm came David Garrett. The 4 seasons are well known to us, so that it specifically sought, the tempos, transitions and more difficult places with him in advance. That all went relatively quickly, firstly because he had a fairly accurate idea of what he wants, and secondly, he made no experiments, as is otherwise like to make soloists with major delays etc, which are no longer able to respond if you it has not rehearsed. He noted, however, I think also relatively fast, how well we performed, and then also said that he enjoyed very much with us. He noted that some things or changed after an advice from Andreas Hartmann still one to two operations and then we agreed that we have a shortly meeting all together before the concert even for a short Intro / Acoustic sample in the Philharmonic wanted to take (the sample was not there because there was another concert at 4pm).
I was positively surprised by it, as I said, we had feared that he is tired after he completed so many concerts and even expected that he would deduct the big show and we need to react quickly (this is nothing new for us for many it is the soloists). But I felt that he was remarkably safe, a great technique, and especially in places seldom cleaned properly heard in the Four Seasons, clean and very well played.
In the rehearsals he was supremely good, knew what he wants and didn’t lost no unnecessary time which was great for us, because it is always very tired. He was nice and polite, but is also happy to suggest how we could do better (or the use of a critical pre-transition) by Andreas Hartmann received (which is itself a very experienced violinist and soloist, but also for many years as concert master not only in the Chamber Orchestra but also seated in the MDR and thus knows where the problem is that there are not together, or you can no longer respond).
I was amazed that he had this giant chains and rings on the right hand and can play the violine with this kind of stuff. Sometimes this giant chauns and rings makes a lot of noises – aigain and again - and I had some anxiety about the lacquer of the violin - but of course is the one of his trademark.
Hopefully I have given you an impression and it could be helpful for you. So, I hope I have given you helpful :-)
Christina (translation: Anja)
Hallo ihr Lieben!
Für mich ist es nicht das erste mal, mit einer so bekannten Persönlichkeit zu spielen, aber dennoch ist es bei ihm doch etwas spezielles. Zum ersten, weil ich sonst oft/meist im Sinfonieorchester sitze- unter einem Dirigenten, der alles leitet und den Solisten begleitet, zum anderen weil noch -ca.80andere Leute auf der Bühne sitzen. Das ganze ist dann auch nicht ganz so "heikel" wie wenn mann nurmit einem kleinen Kammerorchester dort spielt- wo im Prinzip jeder Solist ist und sofort reagieren muss ohne dass das eine Dirigent übernimmt.
Zum anderen, weil er auch ein ganz spezieller Typ ist. Ich muss sagen, dass ich mit gemischten Gefühlen an die Sache gegangen bin. Er ist in der "Klassik"szene ganz unterschiedlich im Gespräch, oft wird er als "show"typ bezeichnet und auch nicht immer ganz ernst genommen. Ich kannte ihn vorher noch von Erzählungen und war sehr gespannt, was mich erwartet.
Das ganze lief etwa so ab, dass wir -nachdem es morgens sehr früh aus Sachsen und Thüringen losgefahren sind (am Abend vorher hatte ich noch Don Pasquale Premiere im Nationaltheater Weimar inklusive Premierenfeier...:-) )um 13h eine kurze Probe mit den anderen Stücken hatten und um 15h kam dann David Garrett dazu. Die 4 Jahreszeiten sind bei uns ja bekannt, so dass es speziell darum ging, die Tempi, Übergänge und schwierigeren Stellen mit ihm abzusprechen. Das ging alles relativ flott, denn er hatte erstens eine relativ genaue Vorstellungen davon, wie er es haben möchte und zweitens machte er auch keine Experimente, wie es sonst Solisten gerne machen mit großen Verzögerungen etc, auf die man nicht mehr reagieren kann, wenn man es nicht genau geprobt hat. Er merkte denke ich aber auch relativ schnell, wie gut wir eingespielt sind und sagte dann auch, dass es ihm sehr viel Spaß machte mit uns. Er notierte sich noch einige Dinge oder änderte nach Tip vom Andreas Hartmann noch ein-zwei Einsätze und dann einigten wir uns darauf, dass wir uns kurz vor dem Konzert noch für eine kurze Anspiel/Akustikprobe in der Philharmonie treffen wollten (die Probe war nicht dort, da dort noch ein anderes Konzert war um 16h).
Ich war positiv überrascht von ihm, wie gesagt, wir hatten befürchtet, dass er nach den vielen Konzerten müde sei, und auch schon damit gerechnet, dass er eine große Show abziehen würde und wir evt schnell reagieren müssten (das ist alles nichts Neues für uns bei viele Solisten ist das so). Aber ich fand, dass er bemerkenswert sicher war, eine tolle Technik hat und vor allem an Stellen, die man selten richtig sauber hört in den Vier Jahreszeiten, sehr gut und sauber gespielt hat.
In den Proben war er soverän, wusste, was er will und "verplämperte" keine Unnötige Zeit, was für uns super war, denn das ermüdet immer sehr. Er war nett und höflich, ist aber auch gerne auf Vorschläge, wie man es besser machen könnte (den Einsatz vorher oder einen kritischen Übergang) von Andreas Hartmann eingegangen( der ja selber ein sehr erfahrener Geiger und Solist ist, aber eben auch seit Jahren als Konzertmeister nicht nur im Kammerorchester sondern auch im MDR sitzt und so weiß, wo die Schwierigkeiten liegen, dass es mal nicht zusammen ist oder man nicht mehr reagieren kann).
Erstaunt hat mich, dass er mit dieser Riesenkette und den Ringen an der rechten Hand spielen kann, es klimperte immer wieder, und ich hatte etwa Angst um den Lack der Geige..aber natürlich ist das eines seiner Markenzeichen.
So, ich hoffe, ich habe euch weitergeholfen:-)
Machts gut, Christina
David spielte im Kaufleutensaal, ein kleiner Konzertsaal mit ungefähr 500 Plätzen....
Er spielte die Vivaldi 4 Jahreszeiten mit dem Zürcher Kammerorchester. Die Bühne war sehr schmal und es war schwer, alle Musiker zu plazieren. Es gab keinen Dirigenten (wie beim Kölner Konzert), David dirigierte die 15 Musiker selber. Meiner Meinung nach spielte er diesmal ganz anders als in Köln. Dort spielte er sehr klassisch....diesmal war es ein bisschen anders, mehr spielerischer....mir hat Köln besser gefallen.....das Orchester war auch anders als das Orchester in Köln. David liess den Winter nach dem ersten Takt nochmal anfangen, da hatte der Einsatz nicht ganz geklappt.
Nach dem Pause spielte David mit seiner Band. Tom Mason war nicht dabei, aber ein anderer Bassist, den David als Chris vorstellte. Die Stimmung im Saal war sehr gut, es war ein sehr junges Publikum. Dadurch das die Halle so klein war, war es eine ziemliche intime Atmosphäre und man merkte sofort wie die Zuschauer mitgingen...
Wir liessen David erst nach 3 Zugaben von der Bühne
Birgit, official forum
David tried an interesting experiment here in Zurich.
The first part of the evening was by intention core classical and he had chosen "The Four Seasons" again. It was rather different from the interpretation in Cologne last week. He was more flamboyand and relaxed and it was not such a pure version of the Vivaldi. He had lively passages and great interaction with the other musicians but he and the cellist were more together personally than musically and it was more a flirtation than a musical harmony. His playing was energetic and vivacious but not as traditional as with the previous orchestra - and he even re-started "Winter" after a shaky beginning.
The audience applauded not only between seasons, but also between movements. I am afraid I always feel uneasy with this but it was a relaxed evening and it really didnt matter.
The second half was with the band (but minus the excitement of Franck and the full orchestra). Well known pieces (he readily acknowledged that the front row knew the pieces which of course we did) and he gave a lively evening of crossover.
But it was still wonderful.
Prima di tutto l’Auditorium è un teatro davvero ben fatto, molto luminoso ed accogliente, con un’acustica perfetta, e queste caratteristiche si sono rivelate importanti per la performance.
David è entrato appena dopo l’orchestra tra tantissimi applausi di un pubblico giovane, talvolta anche giovanissimo, attento e molto caldo ed esuberante.
L’esecuzione de ”le quattro stagioni“ è stata davvero magistrale, una
grande musicalità ed espressione, il tempo, che è una delle caratteristi
che più difficili in questo concerto, era perfetto, e un feeling con ogni singolo membro dell’orchestra , che pochi direttori di orchestra hanno, sembrava che David chiamasse l’entrata in scena delle viole, dei violini del violoncello, e ogni risposta era un sorriso, un ringraziamento un inchino con il suo violino che rispondeva….
Il pubblico era talmente entusiasta che non è potuto star fermo, ha applaudito praticamente quasi alla fine di ogni movimento dei 4 concerti, cosa che forse ha un poco deconcentrato David, ma si notava solo perché alcune volte ha largamente sorriso, guardando il primo violino e il primo violoncellista aspettando che l’applauso si esaurisse per poter ridare il tempo per iniziare ( la ragazza che suonava il violino dietro di lui si è divertita , come pure tutti gli altri componenti dell’orchestra , si guardavano tra di loro sorridendo)
Come al solito per me l’”Inverno” è stata l’apoteosi della tecnica, dell’espressività e della forza, il tutto accentuato da un David perso tra l
e note ….
Gli applausi sono stati numerosi, i ragazzi urlavano e David è dovuto uscire 3 volte per ringraziare ….
La seconda parte è stata per me una nuova esperienza: io preferisco il suo lato classico, ma ha una grande attitudine anche per altri generi ,devo dire , DAVID YOU ARE ROCK…
La parola giusta è travolgente, la platea e la galleria batteva le mani
al ritmo di “Zorba’s Dance”, lo incitava, cantava con lui quando è uscito per l’ultimo bis suonando “Volare” e lui era davvero a suo agio, tranquillo e a volte sembrava quasi non aspettarsi tutto questo calore.
Sono felice perché ha fatto una bellissima impressione a tutti come sempre, adulti e giovani, un pubblico eterogeneo lo ha amato e applaudito come una rock star e come il grande violinista classico che è….il violino
del diavolo…così hanno scritto i giornali.
Spero che questa esperienza sia stata positiva anche per lui, e che sia
rimasto sorpreso di trovare un popolo, quello italiano, che lo ama e lo
applaude e lo aspetta per una nuova serata indimenticabile, come quella
che ho passato!!!
First of all, the Auditorium Theater is really well made, very bright and welcoming, with a perfect acoustics, and these characteristics were important for the performance.
David entered on the stage just after the orchestra in a lot of applause of young audiences, sometimes very young, very attentive, carefull,warm and exuberant.
The execution of "Four Seasons" was truly masterful, great musicality and expression, the time, which is one of the most difficult thinks in this concert, was perfect, and a feeling for each individual member of the orchestra, that is difficult to find in other older conductor… it seemed that David was calling the entry on the concert of violas, violins and cello, and every answer was a smile, a thanks, a bow with his violin that responded....
The audience was so enthusiastic that could not be quit and sit still, so applauded almost at the end of each movement of the 4 concerts.Maybe this think has a little deconcentrated David, but not in the performance, only because he smiled widely, looking at the first violin and the first cellist, waiting for the applause completed to give time to start again (the girl who played the violin behind him was fun, as well as all other components of the orchestra, they looked around and smiled)
As usual, for me the Winter was the apotheosis of technique, expressiveness and power, all accentuated by a David lost between the notes ....
The applause were numerous, the young shouted and David had to go out 3 times to thank .... and it was not enought!!!
The second part was for me a new experience: I prefer the classic side of David, but he has a great attitude to other genres, I must say, DAVID YOU ARE ROCK...
The right word is OVERWHELMING, the platea and gallery clapped the hands with the rhythm of “Zorba’s Dance”, sang with him when he came out for the last encore "Volare" and he was really at ease, calm and at times seemed almost not to expect all this heat. I am happy because he made a wonderful impression to all the audience, as always, adults and young, different audiences loved it and applauded as a rock star and as the great classical violinist who is David ... “The fiddle of the devil” wrote the newspaper ...
I hope that this experience has been positive for him, and is surprised to find a people, the Italian, who loves him and applaud him and waiting for other memorable evening like this!
Das Auditorium Teatro Manzoni ist ein wunderschoenes Konzerthaus, die Sitze steigen von der 2. Reihe an und wir hatten sehr gute Plaetze am Gang in der 6. Reihe.
Dieses Konzert (obwohl es das gleiche Programm war wie in Zuerich) war komplett anders. Ich hatte das Gefuehl, dort spielt ein anderes Orchester! Das Konzert war diesmal perfekt. David spielte rein klassisch, das Orchester war super!
Noch nie habe ich in einer Konzerthalle ein soooo junges Publikum gesehen. Sehr viele Kinder und NUR junge Leute. Ueber 45 war kaum jemand da!!! Die Zuschauer klatschen zwischen den Saetzen des Vivaldis, aber es hat irgendwie nicht gestoert, es war eine wahnsinnige Begeisterung in der Halle.
Nach der Pause spielte David mit seiner Band sein Crossover Programm. Besonders wurde natuerlich Giorgio beklatscht, er kommt ja aus Sardinien. Die Zuschauer tobten, David musste 3 Zugaben geben und selbst danach hoerten wir nicht auf. "Volare" kam natuerlich in Italien sehr gut an.
David in Bologna was different again.
The concert hall was modern and beautifully wood panelled (as you can see in the photos) and it was the perfect setting for a pure and traditional, high class interpretation of the "Four Seasons".
The same orchestra as in Zurich were very different. They were more accurate and more serious in their work. The lead violinist did not wear the silly tie and they were all more dignified. David controlled and steered the proceedings with great confidence and they were wonderfully together in the most difficult season "Autumn" and the performance of "Winter" was exceptional.
The Encore programme might have been less well suited to the more classical venue but after David had returned to the stage with his jeans and casual gear, the atmosphere was set for a wildly enthusiastic and driving performance. Three encores and nobody really wanted to end there.
It was a far younger audience than I have ever seen for David. There were lots and lots of young teenagers and nowhere near as many of the over 50s as he usually attracts. Everyone was cheering and shouting and it was a real triumph.
There can be no doubt. David will HAVE to return to Italy - again and again.
Como was the venue for a truly special occasion when David Garrett appeared at the Teatro Sociale, a beautifully restored, traditional opera house. The setting was quite magical - and David was at the heart of the wonderful event.
Orchestra 13 are a young group, who performed in the first half without a conductor, the team in the hands of the talented first violinist. The Dvorak Serenade for Strings was the chosen piece. This was a gentle and very competent performance which was a restful prelude to the excitement that was to come.
David is due to release his version of the Mendelssohn Violin Concerto later this year - an eagerly awaited landmark in his career. On the basis of this wonderful concert, there is every sign that it will be an interpretation that will add something significant to the Mendelssohn catalogue as well as affirming David as one of the greatest violinists of all time.
His technical mastery, lyrical understanding and sure-footed approach to a well-loved classic made this a performance of the highest quality. He knew what he wanted from the piece, from the orchestra and from himself.
It is exceptionally difficult to conduct and to perform any complex concerto ensuring that the timing is exact and the flow maintained, but David took it entirely and majestically in his stride. Moving on from conducting Vivaldi's Four Seasons with his eyes and gesture, he, at times, made use of the violin bow as baton when it was necessary to draw in the full orchestra and recreate the light and shade of the music.
His playing was flawless and passionate. The gentle fluttering and rapid passages flowed and Mendelssohn's deep emotion was shared in masterful style. Light and dark, variations of tone and pace - all contributed to a performance that will live in the memories of all those who were there in the concert hall which had been sold out for months.
The audience was excitable, appreciative and gave David the welcome of his life. Applause simply failed to fade away and the virtuoso had to return for three encores - the final one after the theatre management had put the lights up to try to draw the evening to a close.
We simply would not let him go. He began with a well prepared and expected Paganini to great acclaim. This was followed by a gentle and unforgettable interpretation of the Bach Sarabande. But after that, the clapping continued and he returned hesitantly and gave in to the wave of emotion, with the music he says he “wakes up to each morning”, the Bach Andante.....
What else is there to say !!!!!!!!!!!!!!!!!!!!!!!
Just wait for the album.
Ich Habe dich gesehen und es geschah und es gibt kein vergehen,
jeder ton deiner Violine ist die Wunderwelt meiner langersehnten träume,
sie besinnen mich in eine Welt voller Gefühle, wogegen ich keine macht sehe,
deine Augen verzücken mich zutiefst in meiner Seele und geben mir die kraft
dein haar seidig weich schimmert im licht wie Seiten deiner Violine gleich,
deine Augen verkörpern Violinenstamm, auf den du spielst gleich einer
die du tag für tag versuchst zuheilen, welches dir gelingt tag ein tag
meine Seele und mein Herz sei gemeint, welche du mit deiner Person zum
explodieren gebracht hast,
du warst das Wesen, welches ich vergeblich suchte,
das wesen, welches so scheinbar mein Herz und meine Augen leben lässt,
nach viel Schmerz und Traurigkeit,
warst du es der mich zum neuen Leben erweckte.
Ich bin kein Star, so wie du,
schätzen tu ich dich als Wesen und nicht als Garrett,
das darfst du nie vergessen,
einen Wunsch lass mich wünschen,
spiel mir das Lied „always“ von JBJ,
damit ich die unendliche Ferne zu dir abschließen und vergessen kann,
die niemals werden kann,
da du ein Leben führst,
in welches ich nie einen richtigen Platz spür,
so sei diese Zeilen von mir gesagt,
um nie zu vergessen,
was einst so wunderbar gefühlt hat in meinem Herzen,
ohne Schmerzen und Traurigkeit
und das Gefühl von Verliebtheit,
zwischen zwei Menschen,
die gleich denken und fühlen,
und das auch in der Rockmusik spüren,
auch ich bin 27 und habe ein Teil in die gefunden,
der mich nie verwunden
oder gar enttäuschen wird.
Du & Ich, aber Du nur Du und Ich nur
anonymous, 6 mars 2009
Finally my idol on canvas!
I want to share this with all his fans!
The Max Bruch Violin Concerto in Stuttgart, March 2009
David Garrett brings out the depth of feeling in Bruch's Violin masterpiece
The Bruch Violin Concerto is one of the most popular violin concertos in the UK (and probably across the rest of Europe). It was the clear winner in the Classic FM Radio Hall of Fame a few years ago and is always in contention. Most of the main virtuoso violinists have contributed their versions so audiences and critics are always understandably very demanding when they attend a performance.
I first heard David play the Bruch in the Barbican in London in February 2008 and I was extremely enthusiastic about it at the time. David played with style and the usual charisma, so I was very interested to have the opportunity to hear him play it again a year later.
It was very different. David has grown in confidence and is far more assured and assertive with his orchestral partners. He was almost shy and understated in London (it was his first return visit to the Barbican after his ill-fated December 2007 experience and this may have been a factor.) It was not that he was hesitant, just that he seemed to adopt a modest and restrained approach. Now, David is aware of his adoring audiences and does not hold back.
In Stuttgart, the emotion was overwhelming. The first movement began in strong and positive style and there was no question that David was in charge. A gentler phase followed but by the beginning of the second movement, the emotion was so strong and the technique so assured, that the intensity was shattering.
Was it too romantic ? Was it too sentimental ? I did not think so but I do see Bruch as one of the most expressive composers, and I admit that I was moved to tears.
The third movement picked up pace and swept the orchestra along with great force. The concerto is very short and seemed to vanish in the blink of an eye.
David communicates with both his audience and with his musical partners with a kind of flirtation and personal engagement. He was in tune with Andrew Litton the conductor and at the same time, in an emotional contact with many individual members of this Norwegian orchestra. His personal charisma (not the same as his gorgeous looks) guarantees that he dominates not only the stage but also the entire concert hall, whatever the size. In rock venues, the musicians follow him; in a classical context, there is a musical harmony and relationship that is unforgettable.
David was the centre of attention and gave three encores. The first was the Dvorak Humoresque which I far prefer in the more traditional version in Stuttgart to the “Encore” version I heard in Cologne. I am still unsure that it fully makes the transition to the crossover world but I am fussy about my Dvorak.
The Paganini Carnival de Venise is always a show stopper - and David interacts with the musicians to bring his glittering and flamboyant style out to the maximum. And to end with the solo energy of the Bach is a master-stroke.
After the interval, the orchestra were on their own - the main attraction had departed. There have been comments on some of the forums that people left in annoyance that David did not play the full evening. That was not the case in Stuttgart. The audience rose to the different kind of occasion and made the most of a sizzling Stravinsky Petroushka, with all the razzamatazz and fairground attraction that we have come to associate with this piece. Even the orchestra had to give encores - more Stravinsky (Juliet's death) and the calmly beautiful Grieg First Spring to ease us to reality. The opening piece had also been an assured and quality interpretation of an impressive but technically difficult work, the Sinfonia Dolorosa by Harald Saeverud. This evening was emphatically NOT the David Garrett Show but an excellent classical evening to rank with the very best.
Critics will have to be unbelievably perverse and stubborn to ignore a performance of this quality. Ignore his looks; ignore the hype - and just appreciate and give credit to this magnificent violin virtuoso.
Tabitha, March 2009
on WLIW21 New York Public Television
Wow Wow Wow!!!! I must admit I was not the biggest fan of the Violin. My grandmother played it at family parties for entertainment while my Grandfather played the piano.
After seeing David performing on WLIW T.V. New York, I have a new appreciaton for the Violin & especially the music David creates on it.
He takes perfoming to a new level of craftmanship and adds a sexy undertone. He has opened my eyes to the beauty of the violin and I can't wait to start collecting his music & share it with my nieces & nephews.
He reminds me of what Mozart must have been in his day, a real pioneer!
Signed a Fan Forever
Jayne Garden City NY
One-Two-Three-Four – it's David Garrett
David Garrett has had to overcome many obstacles in his rise to fame. It's been a hard slog from the back streets of Aachen to the hard seats of the City Hall Concert Hall in Hong Kong, where the violinist played two sold-out concerts over the weekend.
First, there was the embarrassment of having a name called Bongartz – solved by using his mother's maiden name. Then there were the inevitable comparisons with another crossover fiddler, Vanessa Mae – solved by an ability to resist the urge to wander into the sea in a T-shirt carrying an electric violin. Finally, the most serious of all the impediments, there were the comparisons with David Beckham – solved by demonstrating that he's good for more than just set pieces.
The Hong Kong Sinfonietta's well earned reputation for an acute commercial as well as musical sense was further enhanced by Sunday's matinee, as they served up a programme expertly tailored for spinster music teachers, 5-year-old Menuhin wannabes and Tom Lee Music Co. Ltd. alike.
It's difficult to attend a concert in Hong Kong nowadays without hearing Grieg's Peer Gynt Suite, so it's just as well that it's such a fine piece. While Grieg is famous for two compositions (his piano concerto regularly tops the charts at Classic FM – praise comes no higher that that), Bizet is famous for only one work, Carmen, which is a pity, since his Symphony in C, composed when he was just 17, is a delight.
If any piece has more tunes per square inch than the Peer Gynt Suite then it's the Carmen Suite, which made it a perfect choice to kick off the second half, given the attention span of the average Hong Kong audience, never mind those who'd been dragged along in their nappies on the off chance they would one day set the family cash registers ringing as the next Mae or the next Nigel Kennedy without the annoying attitude and the Aston Villa scarf.
But no one had come to listen to the Sinfonietta play, and the man who supplements his income by modelling for Calvin Klein didn't let his audience down. He bounced his way through a repertoire of well known pieces (the sort of things you've heard on the radio or as ads on the telly but couldn't put a name to), engaging in banter with the orchestra not just between items but during them as well, transitioning from a "three-four" at the start of one piece to a full "one-two-three-four" half way through it. Not since Sir Thomas Beecham was hamming it up with the Royal Philharmonic has chuntering your way through a performance been so in fashion, with Brahms, Sarasate, Strauss and Bach all getting the Garrett treatment.
As did Antonin Dvo?ák, though you wouldn't know it from the programme notes. There must be something about this fellow that makes the bully in us want to kick sand in his face. Rory Bremner lampooned Classic FM in its early days with the line delivered in the half-witted tones of Henry Kelly "And that was Dvo?ák, but I'm not sure who it was by!", and now the poor Bohemian had his Humoresque stolen from him and attributed to Brahms.
David Garrett 與柴可夫斯基
上週末一連三天馬拉松式聽音樂會，主要是聽 David Garrett與柴可夫斯基。他們究竟有什麼關係？答案是沒有關係。David Garrett並非演奏柴可夫斯基的音樂，只不過港樂和小交連續兩?分別演出柴三和柴五交響曲，而 David Garrett來港又一連兩?有不同曲目的音樂會。因?際會，忽然變得十分忙碌
三場音樂會的主角都是小提琴。和港樂合作的是 Julian Rachlin，演奏浦羅哥菲夫的G小調第二小提琴協奏曲。Rachlin來頭不少，他選奏這首樂曲技巧難度甚高，而樂曲本身在欣賞時亦有難度，但比較其他浦羅哥菲夫的作品已算?和。週六和週日的音樂會就以 David Garrett為主角，因為他近年走紅之故，兩場音樂會都全場滿座。
週六的音樂會他演奏布魯赫的 G小調第一小提琴協奏曲。這首名曲百聽不厭，但他拉出來別有一番味道。我覺得他的演繹在速度上放慢了一點，旋律聽起來更加清晰，樂思亦更抒情；在快速的段落很多細節都清楚表達。我有點奇怪他選擇這樣演繹，我以為以他著名高超的技巧，他會選擇用一個較快的速度。週日的音樂會是一個愉快的場合。曲目適合年青人欣賞，有 Peer Gynt Suite 和 Carmen Suite。David Garrett 演出他的拿手好戲，都是他的暢銷唱片的選曲，是他特別改編的古典音樂精華，有 Hungarian Dance No. 5, Humoresque和 Csardas。現場氣氛熱烈，他亦毫不吝嗇，encore四次。