Above: pianist Michael Brown
Tuesday October 16th, 2018 - A sextet of favorite artists gathered for tonight's opening concert of the Chamber Music Society of Lincoln Center's 2018-2019 season - their Saison Russe, as Diaghilev might have called it. In March 2019, the Society's annual Winter Festival will offer a Russian Panorama: four exciting programs of music ranging from the time of the Tsars to the Soviet era. A stellar roster of artists will participate. Meanwhile, there's Russian works on many of the season's concerts.
But this evening, the music was mainly by non-Russian composers whose work influenced the development of Russia's own musical style. A pair of pianists (Gloria Chien and Michael Brown), a pair of violinists (Ida Kavafian and Benjamin Beilman) and viola and cello virtuosos Paul Neubauer and David Requiro provided the kind of artistry that is the Society's trademark. I enjoyed their playing tremendously.
Giovanni Battista Viotti's Duo in G major for Two Violins (c. 1789–90) set the evening on its way. As a violin virtuoso, Viotti had toured to Russia; but in 1783 he stopped performing while continuing to compose. He wrote 42 violin duos, of which tonight's - in G-major - was truly pleasing to hear as played by Ida Kavafian and Benjamin Beilman. Sweet harmonies, touches of wit, and dynamic variety marked the opening Allegro. In minor mode, the Andante has a lamenting quality, nicely underlined by the two artists: there are subtle shifts of mood as this movement continues. In the concluding Allegretto, really quite lovely trade-offs of melody and rhythm develop between the players.
Mozart never visited Russia, but his music was popular there. His Andante and Five Variations in G major for Piano, Four Hands, K. 501 (written in 1786) brought Gloria Chien (in a tangerine dream of a gown) and Michael Brown together at the Steinway. From the elegant simplicity of the initial 'song', a set of charming variations evolves; Ms. Chien played lightly and clearly in the upper octaves whilst Mr. Brown gave a buoyant feeling to the lower range. The fourth variation touchingly moves to the minor, and then there's a sprightly finale which detours back to the original melody in a coda of reminiscence.
Mr. Brown returned for Glinka's Variations on a theme of Mozart for Piano (1822, rev. 1827). Mikhail Glinka is often thought of as the father of Russian 'classical' music. He originally wrote these variations, one of his earliest works, for a harpist for whom he had a penchant; later they became the property of pianists. Following the introduction of the theme, Mr. Brown regaled us with effortless fiorature and intruguing dynamics. With traces of hesitation here and there, the pianist's nuanced delicacy and sense of bel canto kept the audience fascinated. In a brief, descending coda, this Glinka gem comes - too soon - to a finish.
In February of this year, Ben Beilman (above) gave a stunning performance of César Franck's violin sonata on this very stage. Tonight, joined by Ms. Chien, he offered a thrilling rendering of Franz Liszt's Grand duo concertant sur la romance de ‘Le Marin’ for Violin and Piano (1835). The solo piano introduces the piece, then the violin enters, ascending to a ravishing high pianissimo: immediately, the two musicians have us under their spell.
There's a big build-up, in which Mr. Beilman displayed a richness of tone that gave me the shivers. Passion sweeps the players on, and as the music accelerates, Ben digs in with some gritty, dramatic playing. In a sudden, settling calm, Ms. Chien's luminous playing sends the violinist to exquisite heights. A simple melody is taken up by the violin, echoed by the piano; the voices entwine before drama rises again briefly.
Stretches of virtuosity and tenderness alternate. With rippling piano and plucked violin, things become animated. Ms. Chien's cadenza brings us to a kind of interlude. Then the piano rumbles deeply, and emotions rise as Ben Beilman's cadenza leads to his absolutely possessed, fantastical, dazzling playing of the final passages. Brilliant dexterity from Ms. Chien and mad bowing from Ben produced a gale of applause at the finish.
Following the interval, Ms. Chien (above) has the stage all to herself for two solo works. In John Field's Nocturne No. 2 in C minor, dating from 1812, a wistful feeling prevails; passion increases only to subside to an ethereal soft ending. The sad yet lovely Mendelssohn Lied ohne Worte in E-flat major, Op. 30, No. 1 (1830) found Ms. Chien's beauty of tone and depth of feeling serenely mingled.
Ms. Kavafian and Mr. Brown now returned, joined by Mssrs. Neubauer and Requiro, for Robert Schumann's Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 47, dating from 1842. The opening Sostenuto assai has a chorale-like feeling which resumes after a more animated interlude. The music becomes more determined, marked Allegro ma non troppo, with Mr. Brown regaling us with his superb playing. This opening movement has mood swings, from reflection to exhilaration.
The Scherzo, in Mendelssohnian mode, takes an animated start: swift and sure playing from all. Things simmer down, but there's an underlying, subtle rhythmic tension. A plucky passage dances us charmingly forward to a quiet ending, with an unfortunate cellphone obbligato.
Cellist David Requiro's playing glows with a sense of tender yearning in the opening melody of the Andante cantabile, so movingly phrased. Ms. Kavafian picks up the melodic thread as the voices blend over plucked cello motifs. An almost waltz-like feeling rises, with Mr. Neubauer's viola in a warm-toned solo. Mr. Requiro then takes up the original theme again, and as the Andante moves towards its finish, the cello sustains a deep, velvety tone to magical effect while the higher voices mesh lovingly.
Immediately, the concluding Vivace is launched, with Mr. Neubauer setting up some rapid passagework which the others then pass about; Mr. Requiro's cello sound simply wonderful here. Spirits rise, the music pulsates, and Mr. Neubauer chimes in again. After a pretty interlude, there's a dash to the finish.
In a program note, Mr. Brown spoke of the special place the Schumann quartet has in his heart. His impeccable mastery in playing it tonight was truly inspired.
Interestingly, this evening's concert marked the CMS premieres of the Viotti, Glinka, Liszt, Field, and Mendelssohn works that were played.
~ Oberon