Sitkovetsky harks back to an older tradition of violin playing not often heard these days.
Sitkovetsky was at his best in the faster passages, producing plenty of attack and retaining perfect control and articulation. The harmonics in the cadenza were exceptional, as was the acceleration towards the end of the movement and then the fast, light touch phrases in the finale. Sitkovetsky treated us to all the grace and spaciousness that I could have wished for.
The most beautiful moments happened in the slow movement, in which the Russian (Alexander Sitkovetsky) seemed to make time stand still without over-stretching it. Together with the effervescent woodwinds he allowed (the music) to radiate with brilliance. It was music, that was almost on a higher plane.
An incredible performance of Brahms C minor piano quartet closed the programme; the instruments kept a perfect balance with all artists notching up the volume at the right moments to bring alive Brahms’ oscillating piece.
Alexander Sitkovetsky soloist made an unimpeachable case for the full concerto’s integrity.
He handled the solo part with dashing brilliance as well as warmth.
It’s always impressive to see a soloist who is really involved in the orchestral role as well his own – an earnest musician committed to the total work he was performing.”
Violinist Alexander Sitkovetsky, like his accompanists, displayed an admirable technical facility and to this he added an incredibly clear sound blessed with a lovely silky sheen.
Once more like the Tonkünstler, Sitkovetsky’s power and projection were striking – I don’t think I’ve ever heard the harmonics in the first movement cadenza ring so loud, full and true.
Seen & Heard