Three works featured in this stunning concert.

The first and shortest was by Arvo Pärt (b.1935). The second and longest was by César Franck (1822-90), and the third was by Ernest Chausson (1855-99), midway in length between the previous two.

The styles and sound world of the three are different. From the very pioneering three-part (1980) music world of Pärt then going back to the practically co-eval other two with Franck’s late Romantic work and more than a hint of impressionism in Chausson.

Andrea Gajic said something about each work, complementing Maria Frendo’s very erudite notes. This petite but tremendously strong power-box linked all three with love in its widest sense. She saw it in Pärt’s Fratres (1980). The title suggests it and it is an extremely difficult ten minute long and very challenging work which covers many different emotions within a very wide range of feeling. Arresting fff to ethereal ppp. Expressed in recurrent themes emphasising contrasts between changing and constant elements.

Franck’s great and unique Sonata for violin and piano in A major (1886) IS a labour of (fraternal) love and esteem for his great friend and equally great violinist and fellow Belgian Eugéne Ysaye (1858-1931). It was Franck’s wedding present to his violinist friend. As Andrea Gajić said, Ysaye often told Frack that he kept performing the Sonata in parts thereof dedicating all to his lucky wife. So much so that he marked whole passages “con amore”.

This work is nothing less than a divine assault upon one’s senses. As Fr. G.J. Frendo said later no words were enough to describe the beauty of this music and the way it was projected. I always find it overwhelming, dazzling, spell-binding. No matter how good a violinist is, this work which is truly for violin AND piano would not garner success unless the pianist were not a specially gifted one and this pianist materialised in Liivi Ander. It was a superb collaboration and I believe that no VIAF chamber concert ever resulted in such a long round of very vigorous and vociferous acclaim as in this case.

The famous Poème, Op. 25 for violin and piano (1896) remains Chausson’s most famous work. It has background a story of a love triangle between a young woman and two suiteors, a singer and an artist. Her dilemma was that she had to choose one of them. The short story on which it was based was Le chant de l’amour triumphant by Ivan Turgenev (1818-83). The passionate music projects the ups and downs of the story, of resolutions made but also of “invasive” dreams which upset the apple-cart. There is tragedy and surreal consequences. Rhapsodic as well as deeply emotional, rich in melody and harmony Chausson managed to weave it all in a seamless reverie which the violin maintains by digging deep in contrasting emotions achieved thanks to the evident technical and musical prowess displayed.

More acclaim resulted in an encore which Andrea Gajić said was composed by Fay Arnstrong for her fellow Scottish violinist Nicola Benedetti. The music with a decidedly Celtic flavour was Love is a red red rose after a poem by Robbie Burns (1759-96).

Incidentally both Franck and Chausson lost their life in freak accidents. Franck absent-mindedly left his residence and heedlessly crossed the street straight in the path of a heavy horse-drawn cart.

Chausson was cycling in the countryside close to his estate. He lost control down a steep slope, crashed into a wall and died of concussion.

After the performance I met the two performers. Andrea Gajić reminded me that this concert was programmed because last year, after hearing her magical interpretation of the Beethoven Concerto with the MPO under Philip Walsh’s direction, I had asked whether she would ever return and PLEASE play the Franck. She said the once the VIAF sent the invitation to take part in a duo performance she prepared the programme. I could not be other than very thankful. Both performers deserve every plaudit they could get .

Andrea Gajić usually performs on a 1766 Nicola Gagliano violin.

Albert George Storace