Nigel Kennedy's Greatest Hits [Import]

1	The Four Seasons: Concerto No. 1 in E 'Spring', RV 269, 1: Allegro / English Chamber Orchestra 3:11
2	Méditation (Thaďs) / London Voices 6:42
3	Gymnopédie No. 1 / English Chamber Orchestra 2:49
4	The Lark Ascending / City of Birmingham Symphony Orchestra 17:40
5	The Girl With the Flaxen Hair / English Chamber Orchestra 3:05
6	Sonata for Solo Violin in C, BMV 1005, IV: Allegro Assai previously unreleased 5:13
7	Praeludium and Allegro in the Style of Pugnani 6:19
8	Chorale: Es Ist Genug, So Nimm, Herr previously unreleased 2:34
9	Danny Boy / London Voices 4:19
10	Scarborough Fair / London Voices 4:46
11	Melody in the Wind / English Chamber Orchestra 5:56
12	Csárdás / Kroke previously unreleased 4:49
13	The Four Seasons: Concerto No. 3 in F 'Autumn', RV 293, III: Allegro 3:47

Barnes & Noble

One can question the sincerity of Nigel Kennedy's antics -- note the cover art here, where he is shown, his face painted with stripes, trying to take a bite out of his violin. But there is no doubt about the enormity of his talent, and, as he himself points out: "How many classical violinists can truthfully claim to have had a hit at all?" The fact is that Kennedy has turned a young generation of listeners on to classical music (primarily in Britain) with his vibrant, exciting performances. But in addition to his famously "in your face" style, best heard in Vivaldi's Four Seasons (two excerpts of which are included here), he can be a marvelously refined player. Listen, for example, to the sweet delicacy of Vaughan Williams's pastoral tone painting, The Lark Ascending; or to the joyous sobriety of his Bach (a movement from one of the great solo sonatas); or even to the heartfelt intensity with which he plays a traditional tune like "Danny Boy." Kennedy's haircuts may change, but the quality of his performances is remarkably consistent. Andrew Farach-Colton

Gramophone

[T]his remarkably talented violinist has matured musically far more than one would expect from the visual and spoken image he still seems anxious to project. Among the recordings included, it is again the Romantic repertoire that suits him best. The ardently passionate account of the Adagio of the Bruch G minor Concerto and the magically coloured "Canzonetta" of the Tchaikovsky remain in the memory. Ivan March