Kerson Leong recently participated in the award-winning Tribute to Ysaÿe (FUG758). Here is his first solo recital for Alpha. The young Canadian violinist’s career began at the age of thirteen when he won the First Prize of the Junior division of the Menuhin Competition in Oslo in 2010. In 2018 he was named artist-in-residence with the Orchestre Métropolitain de Montréal, conducted by Yannick Nézet-Séguin. An associate musician at the Queen Elisabeth Music Chapel, under the mentorship of Augustin Dumay, he has already performed at such venues as Carnegie Hall, the Verbier Festival and Wigmore Hall. The Quebec newspaper Le Devoir, which has followed him since the start of his career, speaks of ‘the purity of intonation, the brilliance of the high notes, the power of the sound... Kerson Leong has remained as brilliant as ever, but he has added a new patina and, deep down inside himself, a new class.’ He plays a superb Guarneri del Gesù, on loan from a Canadian patron. Here he tackles a monument of the violin repertory, the Sonatas for solo violin of Eugène Ysaÿe: ‘These sonatas are of course a big test . . . The music is highly emotional, pervasive and in some ways also very sombre, which makes it extremely powerful’, says Leong of these six sonatas, which he frequently plays in their entirety in a single concert.
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Reviews
Critics’ Choice 2021 – Ned Kellenberger
American Record Guide – January/February 2022
“… His [Leong] playing is richly beautiful. He recorded sound is excellent, close enough for clarity, but never so close that it turns edgy. The disc was a pleasure from beginning to end.”
Henry Fogel – Fanfare – September/October 2021
Choc de Classica
Michel Le Naour – Classica (France) – June 2021
“… It quickly becomes clear that Leong, despite his young age, has absorbed and grasped this music very profoundly. His playing is so technically polished and so richly facetted and nuanced that one might wonder why others have difficulty with these works. In spite of his detailed interpretation, he manages without any problems to keep the overview and to span the arc of the interpretation. At the same time, his playing is such that he imparts his own approach to the works, which makes it possible to combine the pieces, which are quite different from one another, namely as caricatures or praise for six of Ysaÿe’s violin-playing contemporaries, into a unified listening impression…” *****
Uwe Krusch – Pizzicato.com – 1 March 2021
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