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Phillip T Young Recital Hall
August 5, 2006
"It is a matter of little importance whether the music is descriptive - that is to say, sets out to awaken ideas about a given external subject - or whether it limits its attentions to the expression of a state of mind that is purely internal and exclusively psychological. What is of the first importance is that a composition should be musical, and emotional as well."
César Franck was perhaps reacting to the fashion for "programme" music which flourished in the late 19th century, but his remark seemed particularly apposite in the light of the somewhat fanciful programme for Franck's only violin sonata which violinist Jasper Wood outlined to Saturday's audience - complete with disclaimer that the whole thing could well be apocryphal.
Whether the programme - allegedly describing the courtship and marriage of violinist Eugene Ysaÿe, for whom the sonata was composed (as a wedding present) - is authentic or not, the sonata is decidedly "musical, and emotional as well".
And, one might add, of sufficient quality that even hearing it for the second time within 24 hours (as I was) did not induce any feelings of ennui.
Of course that is, at least in part, due to the outstanding qualities of both performances. I do not intend to indulge in a lengthy comparison of Albert Markov and Jasper Wood, superb players both. Each brought his own perspective to the work, both equally valid. Forced to render a penny-in-the-slot judgement, I'd characterise Markov's performance as the voice of experience and Wood's as that of youthful enthusiasm; although that is far from doing justice to either.
Saturday's performance certainly had a verdant freshness to it, from its slightly muted opening to the resounding close.
The first movement, for all its initial restraint, was not lacking in ardour. The tumultuous second's central section was quite introspective, the close dizzying. The slow movement's concentration was almost palpable and its climaxes enormous. The finale's restrained ecstasy was totally involving, although all restraint was cast aside for the joyful close, complete with tintinnabulatory piano.
Jasper Wood and Arthur Rowe were a superb partnership, their communication and ensemble both first-rate.
On any list of "Baroque Works Messed About By Later Hands Until Any Passing Resemblance To The Original Is Merely Coincidental" Tomasso Vitali's Chaconne must rank highly, along with "Albinoni's" Adagio.
In fact, recent research suggests that neither piece contains a single note written by its purported composer.
Wood and Rowe opened their recital with a "big" performance of the "Vitali" (played by Heifetz at his Carnegie Hall debut). Wood's nonchalant virtuosity, ably supported by huge piano tone from Rowe, casting aside (most of) my doubts about the music itself. I shudder to imagine, though, what MiV early music specialist James Young would have made of this - assuming he survived the shock to his system.
Stravinsky's Pulcinella is a personal favourite and the Suite Italienne, derived from the ballet suite, an enormously attractive work, with Stravinsky's pungent harmonies and syncopations providing the perfect foil to the melodies of Pergolesi (and others).
The suite closed the first half of Saturday's programme in a performance which was elegant, spirited, exciting and lyrical (although not necessarily all at the same time).
My only regret is that, like the orchestral suite, the Suite Italienne misses some of the most gorgeous moments from the complete ballet. When the performance is as good as this, one can only wish it were longer.
For their well-deserved encore Wood and Rowe performed Bartók's Romanian Dances. Particularly memorable were Wood's eerie harmonics in the third dance and the two players' immaculate ensemble in the rapid syncopation of the finale, with its whirling dervish coda.
A wonderful evening.
MiV HomeLast modified: Sun Aug 6 19:57:14 PDT 2006