Eine Kleine Summer Music I

Moshe Hammer, violin

Jamie Syer, piano

Joann Hood, viola

Laura Backstrom, cello

First Unitarian Church
June 7, 2009

By Deryk Barker

"I inherited a painting and a violin which turned out to be a Rembrandt and a Stradivarius. Unfortunately, Rembrandt made lousy violins and Stradivarius was a terrible painter."

I do not know the exact provenance of the instrument Moshe Hammer was playing on Sunday afternoon, although I imagine that, unlike the late English comedian Tommy Cooper, he was not playing a Rembrandt.

But I suspect that it would not have matter if he had been: Hammer is a violinist of such consummate artistry and skill that he could probably pick up the cheapest instrument in a thrift shop and make it sound like a product of Cremona's finest workshop.

The afternoon opened with Fritz Kreisler's Praeludium and Allegro in the style of Pugnani, which is probably about as historically accurate as the "Albinoni" Adagio in terms of style, yet Pugnani's own playing was known for its "power, eloquence and rich cantilena" and that description would also serve for Hammer's own playing. This was old-fashioned musicianship in the best possible meaning of the term.

Kreisler's piano accompaniment is rarely more than that, but Jamie Syer was never less than tasteful in his support.

The andante from Bach's Sonata for solo violin in A minor, BWV1003, was an altogether more serious affair. Playing with minimal vibrato, Hammer had the entire hall rapt; his bow control, with seamlessly interleaved double stops underscoring the rhythm, was fabulous.

Brahms's final sonata for violin, the D minor, Op.108 of 1886-8, is a more concise, even at times terse, work than its two predecessors: although comprised of four rather than three movements, it is no longer than they.

Allied to this concision is a degree of tension and passion which, as Malcolm MacDonald remarks, "re-creates...the Sturm und Drang atmosphere of the instrumental works of Brahms's Romantic youth".

As performed by Hammer and Syer, the outer movements were intense and full of passion; the andante's melody of "cool intricacy and aristocratic refinement" (MacDonald again) sounded almost hymn-like and featured some stunning double-stopping; the third movement - one of Brahms's several intermezzos - was almost puckish.

The two musicians complemented each other superbly, although Hammer certainly appeared to be in the driving seat.

Mozart's Piano Quartet in G minor, K.478. was an entirely different matter.

Hammer and Syer were joined by Joanna Hood and Laura Backstrom for a performance which was a true partnership of equals, with excellent balances, full-bodied string tone and a crisp pianism.

I particularly enjoyed the seamless flow of melody which was the second movement.

Finally Hammer and Syer gave us Camille Saint-Saëns's Introduction and Rondo Capriccioso, one of the great violin showpieces.

Once again Hammer showed us how to square the apparent circle of accuracy, flamboyance and charisma, with some truly miraculous pianissimo along the way.