Artistry in virtuosity

Violinist Amalia Hall

“astonishing facility and moving artistry”

Violinist Amalia Hall said recently that “virtuosity” for a musician is “about owning your instrument and being able to showcase what you can do.” She was quick to point out that it’s also about being committed to the music. “It’s always about what we as performers can bring out of the music. There has to be the musical intent, the phrasing, dynamics and character behind the virtuosity.”

For her recent performance of Paganini’s 2nd Violin Concerto “La Campanella” with Orchestra Wellington, Hall came to the Michael Fowler Centre stage looking every inch the glittering virtuoso in a slinky black gown. Her performance demonstrated both her astonishing facility and Paganini’s showmanship - high velocity trills, double-stops, show-off left hand pizzicato, quick-fire spiccato, playful glissandi, harmonics up in the stratosphere and even double-stopped harmonics. She held the sold-out audience on the edge of their seats.

When Orchestra Wellington announced “Virtuosity” as their 2021 season’s theme I confess I groaned a little. So often when composers resort to extreme technical display, the music lacks depth and meaning. I’ve often considered Paganini one of the worst offenders. But Hall, Orchestra Wellington’s regular Concertmaster, showed us that a performer can bring great musicality to a virtuosic performance. Her solo part was beautifully timed, flexible and full of moving artistry as she revealed the many beauties and contrasts in the music with style and flair. 

Yes, there were plenty of string-playing gymnastics as well. Hall’s first movement cadenza was so dazzling the entire audience applauded spontaneously at the end of the movement and, emboldened by the conductor who joined the clapping from the podium, did the same after the 2nd and exploded into a rapturous ovation at the end.

The little bells of the demanding third movement gave the Concerto its nickname and the playful musical conversation between Hall and percussionist Naoto Segawa was deliciously light and witty. Ably accompanied by Marc Taddei and Orchestra Wellington the whole Concerto was given a deeply satisfying performance.

Conductor Marc Taddei

“…a master of programming.”

At the beginning of this concert of music by Chopin, Liszt and Paganini Taddei gave a short but marvellously complete talk from the podium. In just a few minutes he set the virtuosity of the 19th century in its historical place, linking the three composers, noting Liszt’s reaction to Paganini’s dazzling playing and explaining the logic of not only the evening’s programme but the whole “Virtuoso” season. He is a master of programming who offers his audience insights and context with ease.

The rest of the programme inevitably took a back seat to the Concerto but Taddei and the Orchestra were in fine form throughout. Glazunov’s bombastic orchestration of Chopin’s Polonaise No. 40 seemed to have little in  common with Chopin’s lovely piano music. Liszt’s Mazeppa also began life as a virtuosic work for piano. In this and the following tone poem Les Préludes the Orchestra shone with a warm and full string sound, accomplished solo work from wind and brass and all the drama, lyricism and contrast Liszt’s music required.

Orchestra Wellington “Virtuoso Violin” Marc Taddei (conductor), Amalia Hall (violin) Music by Chopin, Paganini and Liszt June 12, 2021