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Violin Concerto No. 1 | Viola Concerto |  The Lark Ascending

Isabelle van Keulen | NDR Radiophilharmonie

Violin Concerto No. 1 | Viola Concerto | The Lark Ascending

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917279320
Catnr: CC 72793
Release date: 02 November 2018
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Label
Challenge Classics
UPC
0608917279320
Catalogue number
CC 72793
Release date
02 November 2018

"The fact that the present CD still exudes considerable unity is due to the consistently high quality of the interpretations of the three disparate works, with emphasis on the fine textures in the solo part (Isabelle van Keulen) as well as in the orchestra (NDR Radiophiharmonie). [...] The conductors Andrew Manze (Prokofiev), Keri-Lynn Wilson (Walton) and Andrew Litton (Vaughan Williams) work equally well on the excellent skills of the orchestra."

Klassik.com, 30-1-2021
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Artist(s)
Composer(s)
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About the album

Here is a disc whose contents seem odd as it couples the violin concerto of a (still) Russian composer to the viola concerto of an English one. Instead, the coupling is very clever since Prokofiev’s First Violin Concerto, whose premiere was in 1923 (while the composer was still living in France, a few years before his return to Soviet Union) served as a much-admired model to Walton’s Viola Concerto, whose first performance was played by Paul Hindemith in 1929. The similarities between the two works go beyond the three-movements structure slow-quick-slow and concern themes, accompaniments and the rondo form of the virtuoso central Scherzo.

The smart idea of such unusual coupling came to one of the few great living violinists who can really play the viola with equal skill: Isabelle van Keulen. This glorious disc is crowned by the orchestrated version of Vaughan Williams’ masterpiece The Lark Ascending.
One of German radio best orchestras, the NDR Radiophilharmonie, is conducted by Andrew Manze (Prokofiev), Keri-Lynn Wilson (Walton) and Andrew Litton (Vaughan Williams).
We zijn het van haar gewend, maar dat ze het ook iedere keer waarmaakt is wel bijzonder. Het is topvioliste Isabelle van Keulen opnieuw gelukt, samen met een van Duitslands beste orkesten de NDR Radiophilharmonie, een fantastisch album uit te brengen met wonderschone vioolmuziek.

Bijzondere combinatie

Op het eerste gezicht lijkt de combinatie van de stukken op het album misschien wat vreemd. Het is niet vanzelfsprekend om het vioolconcert van een Russische componist te koppelen aan het concert voor altviool van een Engelse componist. Maar niets is minder waar, deze koppeling is juist een heel slim idee geweest van Isabelle van Keulen, die op de altviool net zo goed speelt als op de viool. Het eerste Viool Concert van Prokofjev, dat in 1923 in première ging toen de componist nog in Parijs woonde voor hij terugkeerde naar de Sovjet-Unie, diende als geliefd model voor het altviool concert van Walton, dat in 1929 voor het eerst werd gespeeld door altviolist Paul Hindemith. De overeenkomst tussen de twee werken gaat verder dan de uit drie bewegingen bestaande opbouw langzaam-snel-langzaam, het blijkt ook uit de thema's, de begeleiding en de vorm van het rondo van het virtuoze Scherzo.

Een opstijgende leeuwerik tot slot

Dit voortreffelijke album wordt afgesloten met het mooie The Lark Ascending van de Engelse componist Vaughan Williams. Het is de muzikale uitbeelding van een leeuwerik die opstijgt en steeds hoger vliegt. Het stuk is geïnspireerd op een gedicht van George Meredith, geschreven over de leeuwerik en zijn gezang. Vaughan Williams componeerde het stuk oorspronkelijk voor piano en viool maar herschreef het later voor soloviool en orkest. Deze versie werd de bekendste en de meest uitgevoerde van de twee.

Isabelle van Keulen: "De drie werken zijn niet theatraal, zonder pretenties, ze lossen als het ware op in het niets, ze maken de cirkel rond. Al vanaf het begin van mijn carrière zijn ze me buitengewoon dierbaar en vertegenwoordigen ze nog steeds wat ik zo magisch vind aan muziek: hun kracht ligt in de eenvoud."
Das Programm dieser CD scheint seltsam, stellt es doch das Violinkonzert eines (noch) russischen Komponisten neben das Bratschenkonzert eines englischen. Dieses scheinbar ungleiche Paar ist jedoch sehr geschickt verbunden, denn Prokofjews Erstes Violinkonzert, 1923 uraufgeführt (zu einer Zeit, in der Prokofjew noch in Frankreich lebte, einige Jahre, bevor er in die Sowjetunion zurückkehrte), diente als beliebtes Modell für Waltons Bratschenkonzert, das 1929 mit Paul Hindemith Premiere feierte. Die Gemeinsamkeiten der beiden Werke gehen über den dreisätzigen Aufbau langsam-schnell-langsam hinaus und zeigen sich auch in Themen, Begleitung und der Rondoform des virtuosen, zentralen Scherzos.

Der geniale Gedanke einer solch ungewöhnlichen Verbindung kam einer der wenigen, großen Violinistinnen unserer Tage, die die Bratsche ebenso gekonnt spielt wie die Geige: Isabelle van Keulen. Die Orchesterversion von Vaughan Williams‘ Meisterwerk The Lark Ascending krönt diese großartige CD.
Eines der besten deutschen Rundfunkorchester, die NDR Radiophilharmonie, spielt unter der Leitung von Andrew Manze (Prokofjew), Keri-Lynn Wilson (Walton) und Andrew Litton (Vaughan Williams).

Artist(s)

Isabelle van Keulen (violin)

”Her taut musical intelligence and vivid sound combined with a fine instinct for the tender, searching quality of this music … absolutely magical.” The Guardian Since her breakthrough in 1984 winning the BBC Young Musician of the Year, a competition that was broadcast all over Europe and watched live on television by millions, Isabelle van Keulen can now look back on many years of musical diversity. Not only is it always vital for her to approach the musical score with honesty and with an extremely consious approach to interpretation, she also strives to communicate with her audiences and musical partners, allowing her to perform in an inspirational, lively and enthusiastic manner. Her versatility lies in the fact that she not only plays...
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”Her taut musical intelligence and vivid sound combined with a fine instinct for the tender, searching quality of this music … absolutely magical.” The Guardian Since her breakthrough in 1984 winning the BBC Young Musician of the Year, a competition that was broadcast all over Europe and watched live on television by millions, Isabelle van Keulen can now look back on many years of musical diversity. Not only is it always vital for her to approach the musical score with honesty and with an extremely consious approach to interpretation, she also strives to communicate with her audiences and musical partners, allowing her to perform in an inspirational, lively and enthusiastic manner.
Her versatility lies in the fact that she not only plays the violin, but as well viola with the same energy, performing chamber music in any thinkable combination and directing chamber orchestra performances. Whether in the over 20 year intense collaboration with the Dutch pianist Ronald Brautigam, concerts with mezzo soprano Christianne Stotijn, performing/directing the Norwegian Chamber Orchestra, combining violin and viola in one appearance, or being a soloist with orchestras such as the Royal Concertgebouw Orchestra, Berlin Philharmonic or NHK Tokyo. Above all, being faithful to the music is her highest priority.
She has over the course of her career engaged works written by contemporary composers. She had many concertos written especially for her (Theo Loevendie, Erkki-Sven Tüür) and has many other 20th and 21st century works in her repertoire: Concertos by Henri Dutilleux, John Adams and Lera Auerbach. She also likes to perform less known works by Colin Matthews and Concertos by Krenek, Pettersson and Busoni.

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Andrew Manze (conductor)

Andrew Manze is widely celebrated as one of the most stimulating and inspirational conductors of his generation. His extensive and scholarly knowledge of the repertoire, together with his rare skill as a communicator and his boundless energy, mark him out. From the 2014-15 season Manze became the Chief Conductor of the NDR Radiophilharmonie in Hannover. His contract has recently been renewed, for the second time, until summer 2021. In addition to a busy touring schedule within Germany and Austria, they had a highly successful tour to China and South Korea in autumn 2016 with Sir András Schiff as soloist. In 2017-18 they tour the UK and they will return to the Far East in autumn 19. They have embarked on a...
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Andrew Manze is widely celebrated as one of the most stimulating and inspirational conductors of his generation. His extensive and scholarly knowledge of the repertoire, together with his rare skill as a communicator and his boundless energy, mark him out.
From the 2014-15 season Manze became the Chief Conductor of the NDR Radiophilharmonie in Hannover. His contract has recently been renewed, for the second time, until summer 2021. In addition to a busy touring schedule within Germany and Austria, they had a highly successful tour to China and South Korea in autumn 2016 with Sir András Schiff as soloist. In 2017-18 they tour the UK and they will return to the Far East in autumn 19. They have embarked on a major series of recordings for Pentatone initially focussing on the orchestral works of Mendelssohn, the first of which was awarded the Preis der Deutschen Schallplattenkritik 2017.
In great demand as a guest conductor worldwide Manze has long-standing relationships with a number of leading international orchestras including the Leipzig Gewandhaus, Munich Philharmonic, Los Angeles Philharmonic Orchestra, Deutsches Symphonie-Orchester Berlin, Royal Stockholm Philharmonic, Finnish Radio Symphony Orchestra, Oslo Philharmonic, the Hallé, Camerata Salzburg and the Scottish and Swedish Chamber Orchestras. He is also a regular guest at the Mostly Mozart Festival in New York City. He has a close relationship with the Royal Liverpool Philharmonic Orchestra, of which he is Principal Guest Conductor (from 2018/19), and with whom he is in the process of recording the complete Vaughan Williams symphonies for Onyx Classics.
In 2017-18 Manze makes his debut with the Concertgebouw Orkest, Bamberg Symphony, NDR Elbphilharmonie and the Melbourne Symphony. He also makes return visits to the New York Philharmonic and Los Angeles Philharmonic.
From 2006-14, Manze was Principal Conductor and Artistic Director of the Helsingborg Symphony Orchestra. With the orchestra, he made a number of recordings, including Beethoven Eroica (Harmonia Mundi) and a cycle of Brahms symphonies (CPO). From September 2010 to August 2014, Manze held the title of Associate Guest Conductor of the BBC Scottish Symphony Orchestra, and he was Principal Guest Conductor of the Norwegian Radio Symphony Orchestra from 2008-2011.
After reading Classics at Cambridge University, Manze studied the violin and rapidly became a leading specialist in the world of historical performance practice. He became Associate Director of the Academy of Ancient Music in 1996 and then Artistic Director of the English Concert from 2003 to 2007. As a violinist, Manze has released an astonishing variety of CDs, many of them award-winning.
Manze is a Fellow of the Royal Academy of Music and a Visiting Professor at the Oslo Academy and has contributed to new editions of sonatas and concertos by Mozart and Bach published by Bärenreiter, Breitkopf and Härtel. He also teaches, edits and writes about music, as well as broadcasting regularly on radio and television.
In November 2011 Andrew Manze received the prestigious ‘Rolf Schock Prize’ in Stockholm.

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Andrew Litton (conductor)

In 2003 Andrew Litton became the first American principal conductor of the Bergen Philharmonic Orchestra and the successful partnership was confirmed as his tenure was renewed in 2005 and he was made music director. During his time in Bergen Litton has taken the orchestra on tour both in Norway and abroad, including appearances in 2007 at the Concertgebouw in Amsterdam, Royal Albert Hall (the BBC Proms) in London and a 12-concert tour of the United States including Carnegie Hall, New York. Litton and the Bergen Phil- harmonic Orchestra also participated in the creation of a new Norwegian opera company, Den Nye Opera, and in 2006 performed Tosca as its opening produc- tion. The same year Andrew Litton stepped down as...
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In 2003 Andrew Litton became the first American principal conductor of the Bergen Philharmonic Orchestra and the successful partnership was confirmed as his tenure was renewed in 2005 and he was made music director. During his time in Bergen Litton has taken the orchestra on tour both in Norway and abroad, including appearances in 2007 at the Concertgebouw in Amsterdam, Royal Albert Hall (the BBC Proms) in London and a 12-concert tour of the United States including Carnegie Hall, New York. Litton and the Bergen Phil- harmonic Orchestra also participated in the creation of a new Norwegian opera company, Den Nye Opera, and in 2006 performed Tosca as its opening produc- tion. The same year Andrew Litton stepped down as music director of the Dallas Symphony Orchestra after twelve highly successful seasons. He remains conductor laureate of Britain’s Bournemouth Symphony Orchestra, whose principal conductor he was between 1988 and 2004. He appears regularly with major orchestras and opera companies around the world, performing at pres- tigious venues and festivals such as Deutsche Oper Berlin and the BBC Proms. Andrew Litton is also a frequent guest at the Minnesota Orchestra, of whose summer festival, the Sommerfest, he has been artistic director since 2003.


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Keri-Lynn Wilson (conductor)

Keri-Lynn Wilson is a guest conductor of leading international opera companies and orchestras. This season, Ms. Wilson makes her debut at Covent Garden’s Royal Opera House, conducting Carmen; returns to the Munich Opera, conducting La Traviata; the Bayerischer Rundfunk Orchestra, conducting a rare performance of Rossini’s Sigismondo; returns to the Bolshoi Opera to conduct Don Carlo; returns to the Washington Opera to conduct Faust; conducts the annual televised summer opera concert of the NDR Orchestra with a performance of the double bill of Cavalleria Rusticana and Pagliacci; makes her debut with the Australian National Opera, conducting Cosi fan Tutte; and returns to the Orchestre Metropolitain de Montreal, amongst other engagements. Recently, Ms. Wilson conducted Madama Butterfly and Il Barbiere di Siviglia at the Munich Opera, made her debut at the Canadian Opera Company with Tosca, conducted Don...
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Keri-Lynn Wilson is a guest conductor of leading international opera companies and orchestras. This season, Ms. Wilson makes her debut at Covent Garden’s Royal Opera House, conducting Carmen; returns to the Munich Opera, conducting La Traviata; the Bayerischer Rundfunk Orchestra, conducting a rare performance of Rossini’s Sigismondo; returns to the Bolshoi Opera to conduct Don Carlo; returns to the Washington Opera to conduct Faust; conducts the annual televised summer opera concert of the NDR Orchestra with a performance of the double bill of Cavalleria Rusticana and Pagliacci; makes her debut with the Australian National Opera, conducting Cosi fan Tutte; and returns to the Orchestre Metropolitain de Montreal, amongst other engagements.
Recently, Ms. Wilson conducted Madama Butterfly and Il Barbiere di Siviglia at the Munich Opera, made her debut at the Canadian Opera Company with Tosca, conducted Don Carlo at the Bolshoi Opera, Romeo and Juliette with the Bayerischer Rundfunk Orchestra, Rusalka at the Czech National Opera, Otello at the Montreal Opera, Don Giovanni in Bilbao, L’Elisir D’Amore in Valencia, The Flying Dutchman in Warsaw, a double bill of Poulenc's Les Mamelles de Tirésias and Viktor Ullmann's Der Kaiser von Atlantis at the Juilliard Opera, Hänsel und Gretel at the Mariinsky Theater, and La Fille du Regiment in Palermo and at the Royal Opera House in Oman. She conducted the Toronto Symphony, the Montreal Symphony, the Dusseldorf Symphony, and the orchestras of Iceland and Prague. She also acted as Music Director of the National Slovenian Philharmonic; conducted new productions of Aida and La Fanciulla del West at the English National Opera; conducted Verdi's Attila and Il Trovatore in La Coruna; and televised performances of La Traviata, Rigoletto and La Bohème with the NDR Orchestra.
Other recent highlights include Un Ballo in Maschera and Pique Dame in Stockholm with the Royal Swedish Opera, Madama Butterfly in Tokyo at the New National Theater; Lady Macbeth of Mtsensk and La Traviata at the Zurich Opera; Flying Dutchman at the Montreal Opera; Nabucco in La Coruna; La Traviata in Bilbao; Eugene Onegin in Warsaw; Turandot at the Schleswig-Holstein Music Festival with the NDR Orchestra; Otello in Bari; and Boris Godunov in Tel Aviv.
Ms. Wilson has conducted frequently at the Vienna State Opera, Mariinsky Theater, Munich Opera, Bolshoi Opera, Palermo Opera, Juilliard Opera, Israel Opera, Warsaw Opera, Bilbao Opera, and Montreal Opera. She has also conducted opera in Rome, Torino, Bari, Florence, Parma, Verona, Palermo, Oslo, Nice, Bucharest, Los Angeles, Leipzig, and Washington. Ms. Wilson has conducted orchestras in Paris, Los Angeles, Munich, Montreal, Toronto, St. Paul, Houston, Washington, Aachen, Leipzig, Moscow, St. Petersburg, Madrid, Bucharest, Jerusalem, Hong Kong, and Zagreb, amongst others.
Dorian Records has produced a CD, Danzon, of Ms. Wilson conducting the Simón Bolivar Orchestra of Venezuela in a recording of Latin American compositions. A native of Winnipeg, Canada, Ms. Wilson studied the flute, piano, and violin. At the Juilliard School in New York, she was a student of renowned flutist Julius Baker and made her debut at Carnegie Hall at the age of 21. A recipient of the Bruno Walter Scholarship, she continued her studies at Juilliard in the conducting program with Otto-Werner Mueller. Ms. Wilson received her Bachelor and two Masters degrees in both conducting and flute performance from Juilliard in 1994. She made her debut with the National Arts Center Orchestra of Canada at the age of 23. While still a student, she assisted Claudio Abbado at the Salzburg Festival and won a fellowship from the Tanglewood Music Center. Upon graduation, she was the Associate Conductor at the Dallas Symphony Orchestra until 1998, when she launched her international career as a guest conductor.

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Composer(s)

Ralph Vaughan Williams

Ralph Vaughan Williams was an English composer and folk song collector. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over nearly fifty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century. He wrote many works for amateur and student performance. He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–08 with the French composer Maurice Ravel helped him clarify the textures of his music. Vaughan Williams is among the best-known British symphonists, noted for his very wide range of moods, from stormy and impassioned to...
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Ralph Vaughan Williams was an English composer and folk song collector. His works include operas, ballets, chamber music, secular and religious vocal pieces and orchestral compositions including nine symphonies, written over nearly fifty years. Strongly influenced by Tudor music and English folk-song, his output marked a decisive break in British music from its German-dominated style of the 19th century.
He wrote many works for amateur and student performance. He was musically a late developer, not finding his true voice until his late thirties; his studies in 1907–08 with the French composer Maurice Ravel helped him clarify the textures of his music.
Vaughan Williams is among the best-known British symphonists, noted for his very wide range of moods, from stormy and impassioned to tranquil, from mysterious to exuberant. Among the most familiar of his other concert works are Fantasia on a Theme by Thomas Tallis (1910) and The Lark Ascending (1914). His vocal works include hymns, folk-song arrangements and large-scale choral pieces. He wrote eight works for stage performance between 1919 and 1951. Although none of his operas became popular repertoire pieces, his ballet Job: A Masque for Dancing (1930) was successful and has been frequently staged.

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William Walton

Sir William Walton, in full Sir William Turner Walton, (born March 29, 1902, Oldham, Lancashire, Eng.—died March 8, 1983, Ischia, Italy), English composer especially known for his orchestral music. His early work made him one of England’s most important composers between the time of Vaughan Williams and that of Benjamin Britten. Walton, the son of a choirmaster father and a vocalist mother, studied violin and piano desultorily as a boy and also sang, with somewhat better results, in his father’s choir. He taught himself composition, although he received advice from both Ernest Ansermet and Ferruccio Busoni. In 1912 he entered the University of Oxford, where he sang in the choir of Christ Church. He put in the requisite four years of study but failed by one examination (Responsonions) to win a bachelor of music degree....
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Sir William Walton, in full Sir William Turner Walton, (born March 29, 1902, Oldham, Lancashire, Eng.—died March 8, 1983, Ischia, Italy), English composer especially known for his orchestral music. His early work made him one of England’s most important composers between the time of Vaughan Williams and that of Benjamin Britten.

Walton, the son of a choirmaster father and a vocalist mother, studied violin and piano desultorily as a boy and also sang, with somewhat better results, in his father’s choir. He taught himself composition, although he received advice from both Ernest Ansermet and Ferruccio Busoni. In 1912 he entered the University of Oxford, where he sang in the choir of Christ Church. He put in the requisite four years of study but failed by one examination (Responsonions) to win a bachelor of music degree. At Oxford he had met the Sitwell brothers, Osbert and Sacheverell, by whom he was virtually adopted, and he spent most of the next decade traveling with them or living with them at Chelsea. During this period he composed Façade (1923)—a set of pieces for chamber ensemble, to accompany the Sitwells’ sister Edith in a recitation of her poetry—as well as Sinfonia Concertante for piano and orchestra (1928; revised 1943) and Portsmouth Point (1926), which established his reputation as an orchestral composer.

Walton was influenced by some of his older contemporaries, notably Edward Elgar, Igor Stravinsky, and Paul Hindemith. Hindemith was soloist in the first performance of one of Walton’s finest works, his Viola Concerto (1929). Walton also composed a number of scores for motion pictures, including Major Barbara (1941), Henry V (1944), Hamlet (1947), and Richard III (1954). His vocal music includes the oratorio Belshazzar’s Feast (1931) and the operas Troilus and Cressida (1954) and The Bear (one act; 1967). The composer received a knighthood in 1951.


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Sergei Prokofiev

Sergei Prokofiev was born in the countryside of Ukraine. He studied from 1903 at the conservatory of St Petersburg, under Nikolai Rimsky-Korsakov and Anatoli Liadov among others. He was educated as a composer, pianist and conductor. Initially, he made a name for himself as a pianist. In 1918, he left the Soviet Union for the USA, but wasn't able to succeed, and he decided to move to Paris in 1920. His concert tours brought him back to the Soviet Union in 1927, who lured him back for good in 1936. Prokofiev died in march 1953, on the same day as Joseph Stalin. Prokofiev is considered as one of the greatest Russian composers of the twentieth century, even though he wasn't a...
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Sergei Prokofiev was born in the countryside of Ukraine. He studied from 1903 at the conservatory of St Petersburg, under Nikolai Rimsky-Korsakov and Anatoli Liadov among others. He was educated as a composer, pianist and conductor. Initially, he made a name for himself as a pianist. In 1918, he left the Soviet Union for the USA, but wasn't able to succeed, and he decided to move to Paris in 1920. His concert tours brought him back to the Soviet Union in 1927, who lured him back for good in 1936. Prokofiev died in march 1953, on the same day as Joseph Stalin.
Prokofiev is considered as one of the greatest Russian composers of the twentieth century, even though he wasn't a great innovator. He generally applied the strict classical forms and structures to his works and focused on a classical tonality, with a few exceptions of expressive dissonants and incidental bitonality. Yet, he is only explicitly neoclassicistic in his popular 'Classical Symphony', his first symphony composed in 1917. Many of his works show his humour, while his later works presented his darker, more serious side. One of his best known works is the musical fairytale Peter and the Wolf, which is popular among children all over the world.
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Press

The fact that the present CD still exudes considerable unity is due to the consistently high quality of the interpretations of the three disparate works, with emphasis on the fine textures in the solo part (Isabelle van Keulen) as well as in the orchestra (NDR Radiophiharmonie). [...] The conductors Andrew Manze (Prokofiev), Keri-Lynn Wilson (Walton) and Andrew Litton (Vaughan Williams) work equally well on the excellent skills of the orchestra.
Klassik.com, 30-1-2021

There are myriad subtle insights throughout where she, Manze and the orchestra are in delicious collusion. ...the orchestra shines best in a warm and detailed recording.
The Strad, 25-2-2019

It is nice to be able to compare them, and even better to once again establish that violinist Van Keulen also belongs to the top with the viola. Beautiful. Rating: 9.
Luister, 01-1-2019

Isabelle van Keulen plays it all with ease and contagious enthusiasm, one feels how these three works belong to her favorites.
Jo Cornille, 21-12-2018

Van Keulen is in her element and there is a nice exchange of ideas between the musicians in the orchestra and the soloist.
De Volkskrant, 13-12-2018

Prokofiev’s First Violin Concerto and Walton’s Vila Concert are somehow related. Together with Vaughan Williams’s rhapsodic The Lark Ascending they allow the versatile and brilliant Isabelle van Keulen to excel on both instruments. The orchestral performances are exciting as well.
Pizzicato, 05-12-2018

The preference of Isabelle van Keulen, "Music that cracks and scours"
Luister, 09-11-2018

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BlueZzin T’il Dawn
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