Violin/Piano Duo (10/23/14)

I spent another very nice evening at the Austrian Cultural Forum New York, with performances by Shkëlzen Doli, violin, and Gottlieb Wallisch, piano, playing music by Mozart, Kreisler, Brahms, and Strauss. Mr. Doli’s bio focused on his training in the Russian school of violin, and that was evident to me in the muscularity of his playing. He was certainly capable of quiet playing as well, but there was a muscular quality throughout.

Sonata for Piano and Violin in B flat, K. 454 – W. A. Mozart
Präludium & Allegro – Fritz Kreisler
Sonata for Violin and Piano No. 3 in D minor, Op. 108 – Johannes Brahms
Rosen aus dem Süden (‘Roses from the South’), Op. 388, and Wiener Blut (‘Viennese Spirit’), Op. 354 – Johann Strauss

The first movement of the Mozart (Largo – Allegro) began with a muscular strength and tone, followed, in the Allegro, with more of the filigree that I associate with Mozart. The second movement (Andante) had very pretty melodies that were also very strong compositionally, as demonstrated in the playing of both artists. The final movement (Allegretto) was closer to the predictable Mozart I’m used to (sometimes described by me as ‘bibbity-bobbity-boo-in-B-flat’) but was still saved by the strength of the writing (ideas) and the execution. This time around, I liked Mozart more than I usually do.

Fritz Kreisler was a brilliant violinist and composer. Präludium & Allegro demonstrated the latter, and Mr. Doli was quite brilliant himself. (Mr. Wallisch was no slouch, either, throughout the entire evening.) Over block chords in the piano, we heard a marching violin melody of equal-length notes that seemed to end up being an introduction plus an introduction before launching into the fireworks of the Allegro. Those fireworks were moderate to begin with, building in speed, intensity, and virtuosity, leading to a nice pedal point in the piano with flying fingers above, in the string playing, ending with a solid major chord.

After intermission, the Allegro of Brahms’ sonata opened with a sweeter tone from the violin, continuing into more flowing tunes and lines for both players, also with more varied dynamics. The sections struck me as though they were shifting emotions. The Adagio was song-like, with a hint of a somber hymn. This movement, especially, showed the excellent rapport between the two players, even matching the sense of moods. The third movement, Un poco presto e con sentiment, was brisker and brighter—almost playful—but still with a serious undertone. The Finale: Presto agitato had a very strong opening and demonstrated technically difficult writing for both instruments, incredibly well executed.

The Strauss waltzes were played straight, including pauses in the waltz rhythms and a playful sense, though never veering into kitsch or camp. The ‘Roses’ just put a smile on my face. And if the ‘Viennese Spirit’ tempted me to clap along as if it were New Year’s Day, I was able to resist, precisely because they played it straight. After well-deserved applause, there was an encore—Meditation, from Thaïs (Massenet).

Thank you, ACFNY, Mr. Doli, and Mr. Wallisch!

ConcertMeister