Amadeus Leopold: is he the future of classical music?

I was unsure, beforehand, about whether I had an interest in this young man's talents. My wife and eldest daughter were mesmerised by him, his talent and the show. From the snippets I'd heard, his tone sounded a little rough for my delicate ears but this was a family outing so I went.

The venue was less than half full and, I found out later, Boy George was there as well. I was really hoping that more people would turn out, no matter what I say, I do believe that Classical music should be well supported. The general public would be surprised if they attended a classical concert. Pick the program very carefully and make sure that either there is a piece you know or a concert of shorter pieces and you won't be disappointed.

Anyway, I hadn't checked the program so I had no clue what to expect and I certainly didn't expect a stage full of dry ice and our man rising from a coffin to start the show!
Here is the dilemma, this was a show, the lighting was incredible and very artistic. Amadeus had all the poses, camped it up and struck some shapes that, with the lighting, will remain with me for a very long time, I wished I'd had my camera with me, it was artistry at work. Was this to the detriment of his playing? Absolutely not. Will this overshadow his playing? Possibly. In the classical world they are not used to a show, a violinist will stand and play in a well lit auditorium, I have little doubt that he will be dismissed by many, but the proof is in the pudding.

Here, in a nutshell is my opinion of this strange young man. We haven't seen his like in a generation or more. We are used to the skills and talents of Menuhin, Heifetz, Perlman, Kreisler and Tasmin Little but he is different. He plays with his tone, creating the roughness between the tender sweetness, the use of contrasts. He took the most difficult pieces in violin repertoire, and played them all in this program. The Paganini Caprices, Pärt "Fratres", Czardas, Danse Macabre, the whole of the Carmen Fantasy, it was the most incredible treat, audibly and visually. This is a man cut from the same cloth as Paganini and Sarasate. A deadpan face betrayed in fleeting moments when the music reached the levels of a true virtuosity, a brief smile of enjoyment that told more about this than any words ever could.

I have a friend that will accuse me of gushing and that is probably correct but this was Classical brought into the 21st Century and I hope that this can coexist with traditional Classical. Amadeus Leopold is a look into the future at what can be. I recommend that everyone should go and see him, he is disturbing, theatrical, emotive and genuine. I was prepared to be disappointed and instead was amazed. Anyone that will take the most difficult of pieces and put them all into a single program is either a prodigy or a madman. Or maybe a little of both.
https://www.youtube.com/watch?v=psq5cQenrG0

When he plays next you must be there, he is an exciting prospect and needs to be supported, an anomaly in this day and age, an analogue man in a digital format, a fusion of what is, what was and what will be. My heart is always torn between what I know and what I don't, in this instance I believe in the unknown.

 

Pay attention to this one, he could be the chosen one. 

               All hail the new Paganini.

PS. The Carmen is one of my favourites and I've never seen it live before and this performance was easily the best I've ever heard it played. If you do nothing else from this post, look it up, I haven't included a link because it won't be played by Amadeus.

A tale of two contrasts: Rush and Tasmin Little

I have been busy this year, not so much in doing the things that I want to do, more in doing the things that other people need and want to do. My children are growing up and their demands on time are startling, not that I begrudge them anything. Infact as soon as Soundgarden announced some UK dates, I bought 3 tickets, for them and for myself. Yeah, I know, how unselfish can one man be? Yes, I know I will have to take them and that is both a hardship and a responsibility but the look of joy on their faces as they sing along to all the hits, "Jesus Christ Pose", "Get on the snake" or maybe "Ty Cobb" with the immortal chorus "hard headed f*ck you all".

Talking of favourite bands, I did see Rush at the NEC in Birmingham a few weeks back. I will admit to being close to tears in places, it was so good to see them again and the set list was unexpected, an unusual but very welcome choice. The last album, "Clockwork Angels" was a peculiar album, the only way I can describe it, would be to say that it keeps coming into focus and then goes out of focus. When it's out of focus I don't get it but when it's in focus it makes perfect sense and becomes one of my favourite Rush albums, a most peculiar thing. Live, they performed I think nine tracks off the album and they were possibly the standout moments of the show. The new songs easily stand up alongside earlier songs and they blew me away. Here was a band, longer in years yet at the height of their powers. The show was more vital and exciting than I'd seen from them in a long time, energetic enough that I look forward to whatever the future brings and unusually for me, I am looking forward to the DVD of the show.
Rush: Wish them well
I can't remember how many times I've seen Rush, 12 maybe 14 times, the first time in 1982/3 on the "Signals"tour and I have adored them ever since but it does have to be said, the audience was made up of nerds, myself included.

From the barn that was the the NEC to a provincial church in Wendover, Bucks. Tasmin Little, my favourite violinist was playing an intimate recital with John Lenehan. They played 4 sonatas (Mozart, Faure, Ravel and Franck) and it also nearly reduced me to tears, it was sublime. Her playing is emotive and the music simply flows from her. John Lenehan was a superb accompanist, enough that I would rate his performance as highly as hers. He has an amazing touch and his balance of sound was incredible, hitting the keys of the piano hard enough to bring the crescendo but not drowning out the violin. This wasn't about a soloist, this was about the music and these two work together so well, they are a lesson in themselves on how a duo can perform and how music can transcend the players.
My eldest daughter has been a huge fan of Tasmin Little since she was four and afterwards met her and got an autograph. It was so sweet to see my 17 year old, in her Green Day T-shirt, all star struck to meet her number one hero, a classical violinist.
I have been a fan since hearing her on Classic FM in 1992. I did see her a few years back performing the Bruch and she reaffirmed my belief in her abilities then. Her playing is incredibly precise with a wide tone and vibrato that is unique to her. She doesn't make mistakes but neither does she play like an automaton, she has shades of Menuhin in her playing and you know the music is speaking to her and through her.
I did see that Nigel Kennedy is playing our local Theatre but given his perchance for playing out of tune and his unforgivable murder of Vivaldi's "Four Seasons", poor tone, out of tune and no connection or understanding with and of the music (and that was the recorded version!), you would do far better to go and see the genuine article, Tasmin Little. She doesn't have his gimmicks, the faux "mockney" accent or the "punkiness", she simply does what she does.
Tasmin Little: Schindlers list
In my opinion? She's the greatest living violinist, however, I am off to see Amadeus Leopold in a weeks time and he is one of Perlman's proteges so I will let you know.