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In Karl Goldmark's romantic Concerto for Violin and Orchestra, Jenson was incandescent. The work is one of the hardest in the repertoire yet Jenson played it effortlessly with lots of color and variety of bowing, a rich zinging tone and a singing musicianship that was forceful, strong and passionate.
The Daily Gazette, Albany NY
If Jenson set out to prove that her victory in the Tchaikovsky Competition or her early career amounted—or should have amounted—to more than a flash in the pan or even a fluke, this recording, (Shostakovich and Barber Violin Concertos with the London Symphony), reveals a richly communicative voice that shouldn’t any longer be stifled; and makes a statement about the future as well as about the past.
Violinist Dylana Jenson then took the stage for a performance of Tchaikovsky's "Concerto in D Major for Violin and Orchestra," Op. 35.
Jenson is one of those rare virtuosos who almost disappear into the music. Her playing is so matter-of-fact it's easy to assume that the usual fireworks one associates with this concerto are missing.
But that would be a misperception.
Instead of visual theatrics, Jenson's playing exploits the music's built-in explosions.
Tchaikovsky concerto has a glorious champion in violinist Dylana Jenson
The special facet of its program this week is the appearance by violinist Dylana Jenson, who was a phenomenon when she burst onto the international scene in her teens and remains so. The saga of Jenson’s career struggles, especially her long search for the right instrument after a loaned Guarneri del Gesu was abruptly taken away from her, can’t distract from the fact that she is a superlative musician.
Her vehicle with CityMusic is the Tchaikovsky Violin Concerto, a beloved work that often suffers the slings and arrows of outrageous overexposure. In Jenson’s performance, the piece sounds as enthralling and poetic as the composer intended it to be.
This was a glorious account, with Jenson pouring forth streams of warm and sterling sound from her violin, built in the 1990s by Samuel Zygmuntowicz. She wrapped her arms around the first movement’s opening theme, giving it both space and motivation.
The acrobatic passages that Tchaikovsky laces through the work were easy feats in Jenson’s articulate fingers and remarkable bow arm. In lyrical passages, the violinist phrased with elastic sensitivity, always regarding lines as utterances of songful expressivity.
Jenson’s playing in the finale was startling in clarity and dexterity, but she placed virtuosity at the service of Tchaikovsky.
2011 Cleveland.com, Don Rosenberg, The Plain Dealer
Profound lustrous and powerful sound, exact intonation and majestic rhythmic punctuality distinguished the deep and intense interpretation by the soloist Dylana Jenson of the Concerto for Violin No. 1 by Dimitri Shostakovich.
Dylana Jenson and Maestro Irwin Hoffman forged an encompassing version of this work's somber and ominous initial Nocturne, a turbulent and disquieting Scherzo, grave and introspective in the Passacaglia and biting and intense in the concluding Burlesque. With the Orquesta Sinfónica National de Costa Rica.
La Nacion, San Jose, Costa Rica 2011