The Elgar was wonderful. Nigel played in the second half of the programme and he was in top form. His playing was so very eloquent--from the softer, more lyrical sections of the piece to the intense, and powerfully rich paragraphs. The audience was riveted not only by his virtuosity and technique but by the sheer breadth of feeling that Kennedy poured into the performance. It is as if the violin is an extension of himself, and he plays with every fibre of his being.Leonard Slatkin (conductor) and the Philharmonic, who had played an excellent first half consisting of Haydn's Symphony No.99 in E Flat Major and Barber's Capricorn Concerto, were also impressive in the Elgar.

On Sunday, 1 November, I spent a great portion of the day waiting expectantly for evening and Kennedy's 7pm solo concert in Avery Fisher Hall. I had fourth row orchestra seats and could hardly believe my good fortune! The programme for this evening consisted of Bartok's Sonata for Solo Violin, J.S. Bach's Adagio and Fugue from Sonata No.3 in C major and the Hendrix Concerto in Suite Form. I was excited about this last work, because I had had a taste of it at Glastonbury this summer, where Kennedy played a portion of the Suite. Having liked what I heard then immensely, I was eager to hear the entire Concerto. The hall was full and came to a hush as the lights dimmed. . . The Kennedy Collective, the musicians who play with Kennedy for the Hendrix, entered first.These musicians are really very impressive. They are all quite obviously extremely talented and they are also obviously in love with what they do--their enjoyment in playing was palpable. This is, of course, also true of Kennedy himself and it is one of the many things I admire about him. He loves the music, loves the act of playing and the creation of the beautiful sound and powerful feelings which are the music. The musicians of the Collective and Kennedy complement each other perfectly and play together seamlessly. I got the impression that besides making fantastic music, they were truly enjoying themselves--and there is much to enjoy in the Hendrix. The driving beats, the soft, quiet phrases followed by a sudden crescendo of sound, the vibrant variety of rhythms-- I was amazed at just how many different sounds the violin achieves under Kennedy's fingers! His interpretations are original and exhilarating, I could feel the music moving through me (a feeling which I think the audience in general shared as well). The entire Concerto is fantastic but I especially enjoyed his interpretation of 3rd Stone from the Sun, Fire, Hey Joe, Purple Haze--oops, I'm proceeding to name the entire Concerto, I told you it was all terrific! The arrangement of the programme was inventive and highly effective as well. Rather than playing the programmed works in the usual, structured form of one piece or composer in entirety, Kennedy interspersed the movements and works, so that two elements of the Bartok Sonata were followed by two from the Hendrix--then back to Bartok for two more, followed again by Hendrix.

This same pattern occurred in the second half with the alternation between Bach and Hendrix. It created a significant contrast and I found it an original way to present the concert. Kennedy writes, in the playbill, under the heading "Structures, not Strictures" that he hopes that "mainly through my interpetations , but also because of the context in which I have placed all of these works, to be able to shed new light on them." I think it can safely be said that he achieved this goal with considerable success. This solo concert was less formal than the Philharmonic performance and Kennedy took some time to bandy about with the audience, creating a friendly, warm atmosphere and making us all laugh at his endearing sense of humour. When he had finished playing the audience was wild with clapping and, even in the staid, formal Avery Fisher Hall, cheering! And he certainly deserved the applause, and the standing ovation! As an encore, he played on of my very favourite pieces (I was so hoping he would play it) the wistful, poignant Melody in the Wind, his own composition (it is in Kafka). I love this piece, and it moves me every time. It is so tender and lyrical, seeming to come straight from the heart of the composer--there is a depth of feeling in this piece. Kennedy played it with a fellow violinist and former roomate from Julliard, whom he invited onto the stage to accompany him. It was fun to witness the enjoyment the two had playing together. I first heard him play this piece live at Glastonbury, where it was also an encore, and it is a good choice to finish with--it leaves the audience with an absolutely beautiful melody playing in their heads, and a happy feeling in their hearts. Kennedy played for three hours--and I think everyone who was there could have listened for hours more--I know I could have!

He is unlike any other performer and his music reaches out and draws you in, enveloping you in sounds and feelings that you will not soon forget. Kennedy entranced the New York audience and gave them a new perspective. I can hardly wait until he returns to this city (further dates are projected for 1999) ! It must have been a great feeling for him, too, to realize the impact his playing had on this audience--especially in the case of the Hendrix, which is his own work and is being performed for the first time stateside. I can only say "thank you" to him for a completely enjoyable and fulfilling experience every time I hear him play.

I wish him all the very, very best.