PAGANINI God Save the King Ning Feng 宁峰, violin

PAGANINI God Save the King
Ning Feng 宁峰, violin
Ning Feng is recognised internationally as an artist of great lyricism, innate musicality and stunning virtuosity. He performs across the globe with major orchestras and conductors, and in recital and chamber concerts in some of the most important international series and festivals. In 2019 the Washington Post described him as “a wonderful player with a creamy, easy tone and an emotional honesty” and BBC Music Magazine said of a recent recording “His silvery tonal purity, immaculate intonation and gently beguiling musicality have a way of making most other players sound decidedly effortful by comparison.”
Ning Feng has toured Europe, Asia and Australia with the Hong Kong Philharmonic Orchestra and van Zweden, he has toured China with the Budapest Festival Orchestra with Iván Fischer, with whom he has also performed several times in Budapest, with the Berlin Konzerthaus Orchester and Lawrence Foster, and with the Royal Liverpool Philharmonic Orchestra with whom he has also worked many times. Other career highlights to date include performances with the Royal Philharmonic Orchestra, City of Birmingham Symphony, BBC Philharmonic, BBC Scottish, LA Philharmonic, National Symphony (Washington), Helsinki Philharmonic, Bavarian Radio Symphony, Frankfurt Radio Symphony, Russian National Symphony orchestras amongst others. He has worked with many eminent conductors including Gianandrea Noseda, Marin Alsop, Yu Long, Tugan Sokhiev, Vladimir Spivakov and Vassily Petrenko
In China, Ning feng is held in the highest regard; he appears regularly with all the major orchestras, and in 20/21 is Artist-in-Residence with the Shanghai Symphony Orchestra. At the beginning of the 20/21 season Ning Feng embarked on a tour of China, performing Beethoven’s Violin Sonatas in 14 different cities. During this period, he also performed Beethoven Violin Concerto with Shanghai Symphony Orchesta, Guangzhou Symphony Orchestra and China Philharmonic Orchestra.
In chamber music Ning Feng works regularly with Igor Levit and together they have performed at the Schubertiade Festival, and across Germany and London, including both Wigmore Hall and Barbican Centre. He has performed many times at Kissinger Sommer Festival, and has collaborated with artists including Edgar Moreau, Daniel Müller-Schott and Nicholas Angelich
Ning Feng records for Channel Classics and his most recent disc ‘Virtuosismo’ featuring Paganini Violin Concerto No.1 and Vieuxtemps Violin Concerto No.4 was released in September 2019. His earlier recording of Bach’s complete solo works for violin was hailed by Gramophone as “unlike anyone else’s… it’s the illusion of a freewheeling conversation projected from within that held me captive.” His discography also includes concerti by Elgar, Finzi, Tchaikovsky, Bruch (Scottish Fantasy), works for violin and orchestra by Sarasate, Lalo, Ravel and Bizet/Waxman, and with the Dragon Quartet works by Schubert, Dvořák, Borodin, Shostakovich and Weinberg.
Born in Chengdu, China, Ning Feng studied at the Sichuan Conservatory of Music, the Hanns Eisler School of Music (Berlin) with Antje Weithaas and the Royal Academy of Music (London) with Hu Kun, where he was the first student ever to be awarded 100% for his final recital. The recipient of prizes at the Hanover International, Queen Elisabeth and Yehudi Menuhin International violin competitions, Ning Feng was First Prize winner of the 2005 Michael Hill International Violin Competition (New Zealand), and in 2006 won first prize in the International Paganini Competition.
Ning Feng plays the 1710 Stradivari violin known as the ‘Vieuxtemps Hauser’, by kind arrangement with Premiere Performances of Hong Kong, and plays on strings by Thomastik-Infeld, Vienna.
---- DISCLAIMER ----
No copyright infringement intended. I do not own this video, nor do I make money from it. Everything belongs to its respective owner. I just wish to share this music with everyone. If anyone has a problem with this video, please let me know and I will take it down. Otherwise, enjoy!
- - - - - - -
Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

[@banana7558]

The audience is infuriating

[@LuederHoppe]

Every musicians reaction to this performance is: being straight thankfull to witness such a moment. And keep silent to hear every single note, eventually stop breathing. And then, after he finishes, cheer for at least 5 minutes. In full send mode. I have no words for this audience.

[@robinshen8364]

OMG, the look on the face of that Cello player (bottom right screen) as soon as he realized what he was about to witness in person..... priceless.

[@betull7]

The audience is just disturbing. He should put a recording of this insanely difficult piece without ANYONE interrupting

[@alejandrobiasoni1391]

Do you think you have a chance to see someone perform God Save the King in person? and also a unique interpretation, that audience really doesn't know anything about music.

[@MichaelShingo]

God save the Violinist-from-the-audience

[@TapWater598]

3:12 the emotions are truly real

[@burburchacha]

The ignorant audience clearly didn't realise this was an actual piece by Paganini. Judging by their reaction, they must have thought he was jokingly playing the UK's anthem. They even applauded halfway through, mistakenly thinking the piece was over. What an embarrassment, this audience needs more education.

[@jacobcannon1728]

Lol it's possible that they did or didn't know that this was by Paganini; this piece, in particular, is pretty popular among violinists, but I doubt it's very well-known overall. Had he played Paganini's 24th caprice, I'm sure the audience would have reacted differently. I do see audiences doing this kind of thing a lot, however. I recently went to watch a pianist perform Beethoven's 5th piano concerto, and the audience clapped after the first movement; the same thing happened in Alexander Markov's performance of Paganini's Caprice #20.

[@saraleetaiwan1572]

I got to know this piece through Roman Kim 😊

[@jeperdsmontemps258]

C' est un public néo-zélandai. Officiellement, ils sont toujours sujets de la courrone britannique. Peut-être est ce pour cette raison que ça les fait rire. Et peut-être est ce aussi pour cette raison, qu' « ils n'ont pas d'éducation ».

[@TS13579]

@burburchacha Why are you blaming the audience? They don't know any better. I'd say it's definitely Paganini's fault. He should have anticipated this kind of confusion, and avoided composing that piece entirely. There are so many other melodies he could have written variations on.

[@stachjonas]

I have never read a worse commentary and opinion in music🤮@@TS13579

[@curryfy]

Sa prestation est magnifique ; quel dommage que l'enregistrement soit gâché pas le publique, c'est triste.

[@ClabeTickel]

One of the hardest songs to play on the violin and they laugh that’s just crazy

[@WSH3TM]

it is the hardest in my opinion. Especially when u account the fact its only 5 minutes. Obviously a concerto without any mistakes could be harder..

[@Paganini-Liszt]

0:43 They watched the Paganini movie, "The Devil's Violinist". Maybe that's why they thought it was done? (The movie ended at the main theme before the first variation as well) I'm kidding. Obviously, they are just disrespectful. It's easy to know when a piece is done if you just watch the person playing the piece.

[@Phymacss]

Such a rude audience

[@immanuellasker4273]

2:20 I don't even understand how he can play that? The bow dosn't even seem to touch the strings. Amazing.

[@immanuellasker4273]

No way he can produce that sound only with the left hand. I think it's a mixed technique. You can clearly hear that he is hitting the strings with the bow but one or two notes are also slightly vibrating. He is so quick that it's hard to tell@@aaron9262

[@MichaelShingo]

Mostly left hand plucked notes :)

[@KingRa-]

Where is the location?

[@robinshen8364]

The stage says New Zealand Herald, so I'm assuming New Zealand.

[@nelsoncheng4638]

No teeth-acatto?

[@liamnevilleviolist1809]

Does anyone think he cut it short because the audience kept on with their outbursts?

[@josotorres9643]

Someone should have shouted QUIET for God's sake....

[@Zigeunerweisen]

the audience was so disrespectful not followimg their basic morals

[@WSH3TM]

bro paused for a millisecond and the audience started clapping?? lol

[@user-yk1kg5hi3d]

Poor Violinist... But Very skilled

[@thienthao4326]

The audience annoyed me so damn much 💀

[@popodopolos507]

the audience is jut full of old people, they're like the only people who see the APO perform in NZ, they always are terrible, always clap between movements during any piece and don't know anything about music at all. they really just ruin concerts

[@agmaiocplayer3]

You can so clearly tell he was frustrated at the end. What a bad audience.

[@Revan-up5tl]

People that came from Violin Mechanic: 👇

[@aratani7935]

Rude

[@wetbadger2174]

It's really the fault of Paganini. He wrote this mainly to show off and it doesn't even sound that good, often sounding silly. Amazing performance though.

[@Samstercraft77]

eh it sounds pretty epic to me tbh

[@dawkss]

paganini wasnt known for his melodies, but mainly for the great amount of skill you need to play his pieces

[@tl8525]

this sounds epic in my opinion because I can appreciate the difficulty in playing this.

[@user-duck]

*violinist playing the hardest piece in the world audience: laughing and claping like apes