Midday Masterpieces (4/5/17)

Robert Schumann – Märchenbilder, Op. 113
Ellen Taaffe Zwilich – Fantasy for Solo Viola
Rebecca Clarke – Viola Sonata
Garth Knox – Fuga libre

Matthew Lipman, viola
Yi-Fang Huang, piano

It isn’t often that I get to hear the viola on its own. Sure, it might be featured in a section of a string quartet, but on its own? It's slightly larger than a violin, and therefore has a slightly deeper, rounder sound. The Schumann was a set of four relatively short pieces. The first had a rich and pretty opening, sounding Romantic but controlled in its slow, forward movement. The second was more energetic and almost martial. A rippling section followed; then there was a mix of both. The third movement was a Presto, sounding dramatic and sort of diabolical at the same time. A contrasting pizzicato (the violist plucks the strings rather than bowing them) section followed, with a return to the Presto. The last movement was song-like, gentle and lovely. Mr. Lipman and Ms. Huang were in constant touch and support with each other.

The Zwilich was for solo viola. As an aside, Mr. Lipman told us that the piece was written as a compulsory piece for a violin competition, but that she expressly created a version for viola, as well. It opened with long-bowed (the full length of the bow, instead of back-and-forth gestures) double stop (playing two strings at once) phrases. It was modern but not too far out there. Various difficult technical feats were included, and there was even a feel of bluegrass thrown in for good measure.

The Clarke sonata opened with solo piano, then solo viola, then both. There was a very pretty mix of sounds and tunes that felt like a modern version of Romanticism—even hinting at Debussy or Ravel—while presenting very original sounds. The second movement was playful for both the piano and viola. After a lyrical section, there was a return to the playful feel. The third movement opened with solo piano in a long single line, leading into being joined by the viola in a slow, song-like section that increased in intensity and then returned to the song-like feel. Overall, a pleasant piece.

The Knox piece was also for solo viola. With its interesting techniques and sounds, it was almost too modern for me. My feeling was that it seemed like experimental sound just for the experimental part.

A note on stage deportment—these two knew what they were doing. The stage at The Greene Space, WQXR’s performance/broadcast venue is always a bit awkward. That problem was solved by having Ms. Huang exit the stage and wait at the back of the house while Mr. Lipman performed solo. And after his last solo performance, he exited the same way, in order to return with her for final bows. Well done!

If memory serves, there will be two more concerts in this inaugural season of the joint venture between WQXR and The Juilliard School. I plan on being at both.

ConcertMeister