Mendelssohn: Violin Concertos - Ibragimova, Jurowski, Orchestra Of The Age Of Enlightenment (2012)

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Mendelssohn: Violin Concertos - Ibragimova, Jurowski, Orchestra Of The Age Of Enlightenment (2012)

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The young violinist Alina Ibragimova is already established as an admired recording artist, standing alongside great artists of the past and present with her versions of Bach and Beethoven’s violin works. She appears on this latest release with the Orchestra of the Age of Enlightenment and Vladimir Jurowski (in his Hyperion premiere) in a programme which includes a classic of the concerto repertoire: Mendelssohn’s Violin Concerto in E minor, Op 64. Ibragimova’s is a glittering, knife-edge performance, her playing a portrayal in itself of the music’s passion held in control through exquisite craft. The Violin Concerto in D minor—an unusual and welcome pairing—is an early work, written when the composer was only thirteen. As with Mendelssohn’s other juvenile works it is extraordinarily accomplished and exceedingly charming.

Composer: Felix Mendelssohn
Performer: Alina Ibragimova
Conductor: Vladimir Jurowski
Orchestra/Ensemble: Orchestra of the Age of Enlightenment

Reviews: “Ibragimova, with her wonderfully full, malleable tone, sinewy agility and deft expressiveness, proves a compelling exponent of this brilliant teenage score, combining it on this disc with an equally ear-catching performance of the later E minor Concerto…Ibragimova here adopts a style that goes hand in glove with the OAE’s, sparing with vibrato, lithe in articulation but at the same time appealingly reflective in the slow central movement.”

“Ibragimova's playing combines verve, brilliance and imaginative intelligence. Mendelssohn's dynamics are scrupulously observed…But if listeners that they are hearing an approximation of an 1840s performance, they should think again. No one could accuse Ibragimova of vibrating excessively, yet she uses vibrato on the modern way, to aid tone production and projection.”

“what was the thinking behind teaming together a soloist who uses vibrato, albeit tastefully, and a string band who don't? Not that I necessarily object to the result…Ibragimova's sensitive playing wins the day, with some superlative quiet moments and at all times a loyal adherence to the composer's markings and a sure sense of the music's phrasing and architecture.”