Nigel Kennedy

Nigel Kennedy created a sensation with his pumped-up Vivaldi on The Four Seasons, and this second volume of concertos with the strings of the Berlin Philharmonic offers more of the same: slapdash tempi, outrageously loud dynamics, over-the-top techniques, a pugnacious basso continuo, hammered exchanges between soloist and orchestra, and an aggressive pop/rock sensibility that speaks more of this star violinist than of the composer.

In many performances of the Bartok Solo Sonata its legendary difficulty is more apparent than its beauty and nobility: the violinist sweats profusely in a cloud of resin dust, his bow reduced to a tangle of snapped horse-hair, and the sound he produces is gritty and rebarbative, eloquently expressive of strenuous effort. Nigel Kennedy's account is the most warmly lyrical that I have heard, his tone beautiful and expressive in even the most hair-raising passages.

First, as a violinist I can guarantee that Nigel Kennedy IS NOT a mediocre violinist, he is surely a great violinist one of the best of our time. Mr. Hurwitz you must be the kind of people Kennedy criticizes because you just can't accept the fact that he can play any kind of music being Jazz or Classical music or any other good music in a high level and he does play it very well as well as you can't accept his image and his way of thinking, and we can see it on your critic where you spent the whole message criticizing Kennedy and made just a small and not very happy commentary about the album.

There's always an air of pretentiousness that accompanies classical performances of pop and rock classics, and most performances are quickly dismissed to the muzak-filled realms of elevators and doctor's waiting rooms. The fact that classical violinist Nigel Kennedy has dropped his first name for this set (to become Kennedy) doesn't bode well. Which makes it all the more surprising that this collection is quite good. Teaming up with producer Jaz Coleman (who has previously reworked Pink Floyd and Led Zeppelin in the same vein) and the Prague Symphony Orchestra, Kennedy's violin replaces the vocals of Jim Morrison. Fortunately, lurking underneath Kennedy's guise as a rebel lies the thing which first brought him so much attention: his ability to play exquisite music, both technically and emotionally…

A 7CD collection tracing Nigel Kennedy’s journey from the phenomenal Elgar concerto with Vernon Handley in 1984 through to his ground-breaking Vivaldi Four Seasons with the English Chamber Orchestra in 1989 – the recording which launched him to global super-stardom. “If it wasn’t for a spiky-haired Nigel Kennedy’s 1989 recording of Vivaldi’s The Four Seasons,” the Classic FM radio station told its website’s readers a few years back, “you and I might not be listening to Classic FM today”. The station had launched in 1992 with a mission to bring classical music to a wider public, three years after the runaway success of young violinist Nigel Kennedy’s Vivaldi album had revealed an untapped audience just waiting for the right invitation.

Feelings run high about Nigel Kennedy, the bad boy of the violin (he's started using his first name again, if you hadn't heard). On the cover of this collection, he's pictured with red and blue paint on his unshaven face, biting the side of his violin for one reason or another. But Nigel Kennedy's Greatest Hits points to what has really always been the ironic thing about Kennedy – when it comes to the music, he's quite un-outrageous.

Classical superstar Nigel Kennedy returns with a critically acclaimed programme of the music of George Gershwin, hailed by The Guardian as “rip-roaring and exquisitely tender”, spirited and playful gypsy jazz arrangements inspired by his friendship with the legendary violinist, Stéphane Grappelli, reminiscent of jamming together as a teenager during his time at the Menuhin School.

As one of the most successful classical performers of his time, violinist Nigel Kennedy's genre-defying music helped him achieve a level of fame typically reserved for pop stars. A native of Brighton, England, he studied music at the Yehudi Menuhin School and at Juilliard; his debut recording, Elgar Violin Concerto, appeared in 1984, shortly followed by Nigel Kennedy Plays Jazz.

There is no question that Kennedy believes Bach is the greatest of composers. He has said so when giving his inimitable introductions to encore items at concerts, and his commitment to Bach's cause is the foundation upon which these recorded performances is based.

Into the second decade of the 21st century, British violinist continues his commitment to both the classical and jazz worlds, and to frequently mixing them. His 2011 album The Four Elements is an example of his blending of a variety of music styles, including Celtic and Gypsy fiddling, but the jazz and rock elements are the strongest, by far. The piece is scored for violin and electric violin accompanied by members of the Orchestra of Life, a group that includes vocalists, keyboards, guitars, percussion, trumpet, and strings.