A memorable and thrilling debut for Philippe Jordan with the LSO

By Young-Jin Hur, 26 October 2018

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“Jordan proved an emphatic accompanist and Szeps-Znaider responded with a sure-handed performance”

Reviewed at Barbican Hall, London on 25 October 2018

Szymanowski, Violin Concerto no. 2, Op.61

Tchaikovsky, Symphony no. 5 in E minor, Op.64

Mussorgsky, Night on the Bare Mountain

Bach, Violin partita no. 2 in D minor, BWV1004: Sarabande (Encore)

Nikolaj Szeps-Znaider, Violin

London Symphony Orchestra

Philippe Jordan, Conductor

A dream of a Gerontius from Pappano, the LSO and Chorus

Roy Westbrook, 21st April

Giving their 27th performance of the oratorio, the London Symphony Chorus excel as angelic angels and demonic demons.

****1

Pappano and the LSO: a thrilling collision between heaven and hell

Charlotte Gardner, 16th April

Vilde Frang joins Sir Antonio Pappano and the London Symphony Orchestra at the Barbican for transcendent Korngold alongside darker fare.

****1

Han Kang’s The White Book takes on a compelling new life

Peter Quantrill, 5th March

At the Barbican, Laura Bowler's new work for Barbara Hannigan translates Han Kang's novel into a soundscape of icy stillness

****1

A curious evening from Noseda, Kopatchinskaja and the LSO

Mark Valencia, 26th February

Good, bad, but never ugly, a curious evening unfolds at the Barbican, inspired at times, ill-judged in places.

***11

Borodin steps into the symphonic limelight: Noseda and the LSO

Mark Pullinger, 15th February

Seong-Jin Cho continues his Artist Portrait series with the LSO by performing Chopin's poetic Second Piano Concerto.

****1

Rattle and the LSO sell a travel package to Hungary and Spain

Roy Westbrook, 18th January

Opening her LSO Artist Portrait series, Patricia Kopatchinskaja plays Béla Bartók’s Second Violin Concerto before Rattle and the LSO whisk the audience to Falla’s Andalusia.

****1

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Young-Jin Hur

Young-Jin Hur is a PhD candidate in psychology at University College London, researching themes in aesthetics centred around the sublime. An ardent CD collector, Young-Jin finds much affection in symphonic and orchestral works from between the mid-19th and mid-20th centuries, especially of Austro-German, Nordic, and Russian traditions, and in sacred vocal music. He also writes for MusicWeb, Corymbus, and Seoul Arts Center. He tweets at @yjhur1885 and blogs at Where Cherries Ripen.