Nigel Kennedy Comes To Exeter University

Sitting toward the back of the Great Hall, I witnessed multiple acts of unfathomable metamorphosis on the night of Saturday 16th. The orchestrator of this experience was Nigel Kennedy, the world-class violinist who is best known for his Avant-garde, genre-bending performances - one of the most notable being the Last Night of the BBC Proms this year. Needless to say, I expected an instrumental master class yet I was only half right – for as well as a virtuoso performance, Kennedy delivered a thought provoking yet ultimately entertaining recital.

It’s Kennedy’s existence outside the archetypes of the Classical musician that makes him such an interesting figure. Between pieces, he held himself like a comic, cracking jokes to the audience and the sparse backing band in his distinctive Mockney accent. At times he reminded me of Suggs from Madness fame, most notably during an impromptu sung interlude in which he continued a running gag of interacting with individuals in the crowd. This stage persona coupled with his unconventional dress code is rather alien to common conceptions of the Classical performer; I found this refreshing. Kennedy exhibits a real consciousness of his position as a modern Classical musician, and his stage shows prove this. Indeed, the Aston Villa shirt-wearing master seems bent on dragging his genre into the 21st century, and one must applaud him for this aim.

However such boldness would be pointless without the technical skill required to form the backbone of a concert. Fortunately, Kennedy has this ability in bundles. The excellence of his tone was apparent throughout, most notably in the ease of his utilisation of the higher register and his held notes, which were tastefully ornamented with just the right amount of vibrato. His modulation of volume was also spotless, with one shimmering extended pianissimo during the first band number indicative of his adeptness. The interpretation of a polyphonic Bach Fugue was perhaps the greatest proof of Kennedy’s craft, as he navigated the complex harmonies and rhythms whilst maintaining his typical high level of musicality. Despite his aforementioned stage persona, when it came to performance, Kennedy morphed into the figure of concentration one would expect. For the duration of the recital, Kennedy was technically perfect.

Yet, what I was most appreciative of was the diversity of the repertoire, one that straddled Baroque, Jazz, Folk and traditional Last Night of the Proms numbers. Whilst perhaps thematically discordant as a whole, I found the range welcome, with the switches from the complex Bach to Celtic-infused folk in the first half serving to separate the lengthy studies. In a constantly transforming section after the interval, Kennedy and his ensemble continued to move fluently between genre, with the inclusion of Paul Desmond’s Take Five and an exquisite rendition of Danny Boy proving to be my personal highlights. This set hybridity also served to display the aptitude of his backing band, consisting of a percussionist, a guitarist and a double bassist, with a memorable solo by the drummer made all the more impressive by the fact it was on a single, small Tom.

Undoubtedly, Nigel Kennedy is a master of his instrument, and this was constantly vindicated by the consistently impressive musicality of his interpretations. However, what made this an intensely enjoyable recital was his engagement with the crowd, made possible by his constant switches from virtuoso Classical violinist type to a chatty Mockney comic. Whilst for the conservative, Classical purist, I’m sure to see a performer fist-bump his backing band after each song must be rather jarring, yet I found it only served to make him more accessible. I urge you if you find the opportunity, to take the chance to see this incredible, and ultimately exceedingly entertaining musician.