{"id":167520,"date":"2026-11-01T08:51:17","date_gmt":"2026-11-01T13:51:17","guid":{"rendered":"https:\/\/panm360.com\/gig_review\/le-vivier-super-ultra-violon-violin-judith-fliedl-concert-sainte-hilda-montreal\/"},"modified":"2026-11-01T08:56:39","modified_gmt":"2026-11-01T13:56:39","slug":"le-vivier-super-ultra-violon-violin-judith-fliedl-concert-sainte-hilda-montreal","status":"publish","type":"gig_review","link":"https:\/\/panm360.com\/en\/gig_review\/le-vivier-super-ultra-violon-violin-judith-fliedl-concert-sainte-hilda-montreal\/","title":{"rendered":"Le Vivier: Judith Fliedl’s Super Ultra Violin"},"content":{"rendered":"\n

In the very intimate Sainte-Hilda space, Le Vivier hosted the Austrian violinist Judith Fliedl on Friday evening (October 30). The young lady is, of course, a master of the classical repertoire (she has a particular fondness for Bach and Mozart), but for several years now she has been concentrating on contemporary and avant-garde music. As she mentioned in our conversation, Judith Fliedl enjoys producing sounds “that are not normal.”<\/strong><\/p>\n\n\n\n

INTERVIEW WITH JUDITH FLIEDL<\/strong><\/a><\/p>\n\n\n\n

These are therefore bold sounds, sometimes strange, but more often atypically seductive, that the young artist offered during a concert that greatly impressed the audience at Sainte-Hilda.<\/p>\n\n\n\n

Through the musical astonishments of the four works on the program (Ultraviolin<\/em> by Benedikt Alphart, Partita for Solo Violin No. 1<\/em> by Chris Paul Harman, \u2026n\u00e4r korpen vitnar<\/em>  (when the raven whitens) by Malin B\u00e5ng and Frises<\/em> by Kaija Saariaho) it is primarily a splendid technique, breathtaking in its mechanical ease and tonal accuracy, that we are able to perceive. One can only imagine such a level of performance in Bach or Mozart. Which will perhaps be for next time, if the concert programmers in Montreal read this text. That said, people in Toronto will receive her exactly for this November 3 : a program of Mozart and Korngold<\/strong><\/a> will be played, to launch the new Mozarteum Canada Society. Enjoy!<\/p>\n\n\n\n

In the meantime, we will fondly remember this very beautiful hour of demanding music, delivered with passion and conviction by the lady. Alphart’s Ultraviolin<\/em> refers to the use of ultrasound (obviously brought down to an audible level for humans) in a sound tape accompanying the soloist, who interacts with it in a very delicate manner. To the point that at certain moments, the whispers of the violin were completely drowned out by the said tape. Ironic, for sounds that were initially impossible to hear…<\/p>\n\n\n\n

In short, while the idea seems interesting, the result is not always as convincing. The opposite of the next piece, \u2026n\u00e4r korpen vitnar<\/em> by the Swedish Malin B\u00e5ng, an expressive and technical tour de force, like a shattered and breathtaking toccata, brilliantly conducted by Judith Fliedl. The remarkable Partita for Solo Violin No. 1<\/em> by Montrealer Chris Paul Harman brought a classical elegance, albeit strictly abstract. Fliedl learned it in anticipation of her visit to Canada, a gesture that is not only respectable but also delightful, given the evident and authentic personal investment the young lady put into it. Her interpretation is flattering, as it demonstrates the full value of Canadian music. Fliedl described it as very difficult to master. You can believe it, the impressive passages of tactile boldness, as well as the impossible contrasts of nuances, add up mercilessly, while showing no sign of being able to overcome Fliedl’s perfection of play. If the Austrian ever records this piece, it could become the reference.<\/p>\n\n\n\n

Excerpt from Frises <\/em>(Kaija Saariaho) by Judith Fliedl – Sainte-Hilda hall, Montreal, October 30, 2026 (with the kind permission of Judith Fliedl):<\/strong><\/p>\n\n\n\n