Sibelius violin concerto cho liang lin biography

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My immediate reaction to the finale was that it was very fast. I immediately listened to one of my favourite performances, that by Cho-Liang Lin with Esa-Pekka Salonen (1987, CBS Masterworks), which rather confirmed this, my only, and very slight, criticism.

There are many, many fine performances of this wonderful concerto available.

Not only is the cadenza strangely placed, so near the beginning of the work, but the structure of the whole movement brings many surprises. The cadenza is strikingly different from Kuusisto’s, just as brilliant but more beautiful in tone. These two sets represent a compendium of extended and idiomatic writing for the violin, with the orchestra in very much a supporting role.

Sibelius’s Op 77 is sometimes referred to as ‘Two Earnest Pieces’.

Additionally, I spent 18 years as the Artistic Director of La Jolla SummerFest and currently lead the J&A Beare Premier Festival in Hong Kong. However, his wide ranging interests have led him to diverse endeavors. Over a pizzicato accompaniment the soloist skitters in constant, breathless semiquavers, sometimes twittering, too, like a bird, leading, after less than two minutes, to a breathless finish.

Lin performs on the 1715 “Titian” Antonio Stradivari, or a 2000 Samuel Zygmuntowicz.

Evening in Spring.’ Most remarkable is the final piece, ‘In the Summer’. Alongside Lin, I would place Lisa Batiashvili (Sony), Vilde Frang (EMI Classics) and, even more recently, Johan Dalene (BIS). The Op 89 set begins with a bit of mock baroque, then passes through calmer, more intimate territory. This is a marvellous performance and – for me! Remarkably, Ehnes respects them all.

At the age of 31, his alma mater, The Juilliard School, invited Lin to become faculty. After playing for Itzhak Perlman in a masterclass, the 13-year old boy decided that he must study with Mr. Perlman’s teacher, Dorothy DeLay. At the age 12, he moved to Sydney to further his studies with Robert Pikler, a student of Jenő Hubay. The final piece is equivocal, despite its reassuring major-key close, and each of the six pieces is as different from the others as you could imagine.

They share a spiritual rather than religious atmosphere.