ACCIO DUO
No newcomers to the VIAFestival this charming young duo performed this edition’s 10th concert with an interesting mix of works. Those at both ends were rather familiar; all those in between were by lady composers, mostly forgotten in this day and age, especially the first two of them.
The duo started off very well with the Sonataa n.32 in B flat Major, KV 464. By 1784 gone were the days when were the days when Mozart’s early violin sonatas were more for piano with violin accompaniment.
With K.454 the violin is more assertive and in this case often of a virtuoso type. Which does not mean that the piano is side-lined as a mere accompanying factor. There is much interaction between the two instruments, once the slow introductory Largo section gives way to the full-blown Allegro of the rest of the movement, the balance is one of equality. The beautiful crystal clear tone of the violin enhanced the beauty of the melody which dominates the central Andante, except when midway through the movement a more sombre atmosphere prevails before the initial theme returns. The concluding Allegretto introduced by the violin was a continuous romp with a main theme which leads to many rondo form episodes. It returns with the same melodic inventiveness and Mozartian brilliance, fruit of his genius crowned with instrumental interaction.
French composer Mélanie Bonis (1858-1937)
composed Two Pieces for Violin and Piano in c. 1910. She was a pupil of Franck, among others. Her Andante religioso and an Allegretto display a considered distribution of equal importance between the two instruments.
Dora Pejačevič (1885-1923) was a Hungarian-Croatian aristocrat who was a comparatively prolific composer when one realises she died aged only 38. Her Élégie (1913) transmits the futility of war, death and isolation of which there was a lot during the two Balkan Wars of 1912-13. Worse was to follow in World War One, ending with the break-up of her country and her exile.
The best known of the three lady composer is Lili Boulanger (1893-1918). Best known if not for her music, for being the first female winner of the coveted Prix de Rome AND for her tragic death aged 24. Her Deux Morceaux pour Violon et Piano (1911-14), are virtually co-eval with the two pieces by Mélanie Bonis composed just before the outbreak of World War One. Nocturne begins thinly and later descends into a darker, thick texture. Here the violin increased in virtuosity, tonal intensity and urgency. Cortége turned out to be rather more lively, full of charm, grace and contrasts. It is an agreeably exciting exercise.
The concert ended with Dvořák’s Sonatina in G Major, Op. 100. I just love this composer’s works, his melodic vein so prolific and beautiful that he seems to be like the Czech Schubert. It is a feast of melodic richness in every movement. Add to that the rhythmic richness and the dance-like elements especially in the third movement (Scherzo etc) and the concluding Finale – Allegro.
This classy exercise in musical-marital bliss was met great applause. It resulted in a beautifully heart-warming instrumental version of one of Schubert’s best-known Lieder, in other words An die Musik. It was just…divine!!! with a very warn appease. ITVRESUL marit.
Albert George Storace