Zurich, Tonhalle, 2016-06-21: Fazıl Say, Gábor Boldoczki, Willi Zimmermann / Zurich Chamber Orchestra (ZKO) — Handel: Suite in D, HWV 341; Dmitri Shostakovich: Piano Concerto No.1 C minor, op.35; Ludwig van Beethoven: String Quartet No.11 in F minor, op.95 (arr. Gustav Mahler)
Concert Review: Carolin Widmann, Stephan Mai / Zurich Chamber Orchestra at St.Peter’s Church, Zurich, 2016-03-15 — Handel: Concerto grosso op.6/10; Pisendel: Sonata for solo violin in A minor; Mendelssohn: String Symphony No.13 in C minor; Bach: Violin Concerto in D minor BWV 1052R
Concert review: Steven Isserlis, Richard Egarr / ZKO at Tonhalle Zurich, 2016-02-02 — Haydn: Symphony No.68 in B♭ major, Cello concerto No.1 in C major; Boccherini: Cello concerto No.3 in G major; Mozart: Symphony No.17 in G major K.129
… Right from the beginning of the first movement (Allegro vivace) one could sense and enjoy Norrington’s very detailed dynamics, the clear contrasts, very careful phrasing and articulation, down to individual ornaments — and the joyful playing in general. (…) It was a fascinating concert experience, and a strong, very convincing, compelling interpretation, both on the part of the conductor as well as the orchestra!
… it was fascinating to observe how the violin remained audible, kept a clear presence even through minimal, light movements of the bow (…)
In the subsequent Larghetto, the soloist enchanted the audience with the most intimate, whispering tones, played almost sul ponticello, with minute, discreet movements of the bow, merely a hint, but always present, down to the softest ppp and below — one could almost sense the audience holding breath, totally captured by this playing.
(…) The last position in the program (after the intermission) was Mozart’s Symphony No.40 in G minor, K.550, in its first version (without clarinets), preceded by some explanations (in English) by the conductor. Sir Roger Norrington first alluded to numeric relations between the two symphonies (No.4 vs. No.40 — second vs. second-to-last symphony), then referred to the fact that K.550 is overused, known too well even, and played in warehouses and escalators…