2017 Reviews
 
Tasmin Little at the Barnes Music Festival
St Mary's Church, Barnes
Saturday 11th March 2017

Barnes Music Festival 2017 – Gala Opening Concert with Tasmin Little
Roxanna Panufnik’s Four World Seasons & Vivaldi’s The Four Seasons,
and Tchaikovsky's Serenade

... After the interval Little captivated with her virtuosity and her enthusiastic and vivid commentary of Vivaldi’s programmatic intentions; we were not left in any doubt of the gunshots, barking dogs and drunken peasantry. Anyone looking for historically-informed revelations would have been disappointed, but with tempos that kept you on the edge of your seat, beautifully judged ornamentation and cadenzas, a soloist who dashed off the most difficult passages of florid writing and the obvious fun that the performers (continuo team especially) were having, this favourite set of Concertos was fresh and invigorating.


Timothy Wilde, Classic Source, March 12th 2017
 
Recital: Tasmin Little violin, & Martin Roscoe, piano
Morpeth Methodist Church
Thursday 12th January 2017

Tasmin Little warmed up a cold night with a brilliant Morpeth recital

The star violinist was joined by pianist Martin Roscoe for a display of musical virtuosity in the latest Morpeth Music Society gig.

It was a cold night to be venturing out but there was a warm welcome in prospect.
Tasmin Little’s smile alone can warm up a room and her fiddle playing could power a small part of the national grid.

It was packed for this gig, even up in the gallery where the view was perfect.
The concert began with Beethoven’s Sonata in A minor, composed in 1801 – just before his better known Spring Sonata – and sounding here as fresh as a daisy.
Tasmin Little’s charming and chatty introductions showed that she loves the music she plays and this comes out in her performance.
Poised on her high heels, she conjured up musical perfection while Martin Roscoe at the piano was, as Tasmin acknowledged, more than an accompanist.
Also before the interval came Fauré’s Sonata No. 1 in A major, a chance to hear a piece which, according to the violinist, is not very frequently played.
On this evidence, you wondered why. It’s easy on the ear and has a great champion in Tasmin Little.
The best, for me, came after the interval with Schubert’s Fantasie in C major which was composed in 1827 and rather turned the tables on the concert platform, putting the spotlight on the keyboard.
The opening long, slow violin notes, each requiring a full stroke of the bow, float above the piano tiddly-pomming like billyo underneath. I imagined a swan gliding on a lake.
There was an encore, Brahms’ Hungarian Dance No. 5, a furious foot-tapping blast to send all away happy.
This was a great concert and the society has two more before the end of the season.

David Whetstone, Newcastle Journal, January 13th 2017
 
Szymanowski Violin Concerto No 2 Op 61
BBC Symphony Orchestra/Edward Gardner
Tasmin Little, violin
Barbican Hall, London, January 7th 2017

"Szymanowski’s Second Violin Concerto was more relaxed, with generous orchestral cushions for Tasmin Little’s solo playing, which made as much of the languid low-register lyricism as it did of the forays into the highest reaches of the violin’s range.

Andrew Clements, The Guardian, 08 January 2017

"Szymanowski’s second Violin Concerto, its deep, dark pools of sound beautifully transparent, the narrative well paced by Gardner and the soloist Tasmin Little. In the dizzying cadenza and the long paragraphs of melody and variations on either side, Little’s execution was flawless, her tone pure and penetrating."

Anna Pickard, The Times, 10 January 2017

Poland was presented in a more positive light via Karol Szymanowski's Second Violin Concerto, given passionate advocacy by Tasmin Little. It's a far cry from the perfumed, intoxicating language of his earlier concerto, being earthier and almost Bartókian in its driving folk rhythms. Little gave a muscular performance, especially of the cadenza by Paweł Kochański, the concerto's recipient. Fierce double-stopping was matched by lyrical interludes of great tenderness.

Max Pullinger, Bachtrack, 8 January 2017

Tasmin Little is now something of a veteran of the concert hall, but in Szymanowski’s demanding Second Violin Concerto she proved once again that her skill and artistry stand up well to that of the numerous young violinists who continue to arrive on the scene. She gave an exemplary reading of this work, one that was ardent, intense and highly expressive, and which typicall en sense of communication with her audience. Gardner and the orchestra gave her ideally strong support.

Alan Sanders, Seen & Heard International, 8 January 2017