Violin Sonata No 1 (Beethoven)
Violin Sonata No 1 (Saint-Saëns)
Sonata No 4 for solo violin "Fritz Kreisler" (Ysaÿe)
Suite Popularie Espagnole (Falla, arr. Kochanski)
Czardas (Monti)
Ray Chen (Violin)
Julio Elizalde (Piano)
This concert programme formed a chronological order of works from late classical period up to the early 20th century.Technical demanding pieces filled the upper half and a more relaxing affair towards the end. Whether because Beethoven's first sonata was the opening work or saw a need to fill the hall acoustic, Ray Chan's playing was unnecessarily weighty and bombastic throughout. Heavy vibrato was employed, and aggressive bow attacks on double and triple stops. The scalic passages though were not always legato neither tuning was secured on the high finger positions. Showmanship and pushing the tempo vigorously undermined the appropriate performing style, which was to be transparent, a natural flow and silky. The violin was supposedly accompanying the piano in the second movement but that partnership dynamic here was reversed. A rather passionate and rich playing was given on the violin part, which sacrificed the elegance in a wrong dramatic sense. It was no surprise that the forceful approach continued into the third movement. Even so, it gave a virtuosic display and strong momentum by the energetic playing.
In contrast, Ray Chen's bold playing style was more suited to Saint-Saëns first violin sonata. The tempestuous and violent impression was vividly produced during the nervous and tense introduction of first movement. Again at virtuosic passage the sheer sense of dramatic intensity was carried and technically excelled, which one sensed the architecture and direction the performers had in mind. Though during lyrical sections in both first and second movement, the tone impression often lacked contrast and never relax. Emotional outpours overflowed and sometimes affected the tuning again on higher positions. By reaching the dance like scherzo of the third movement, intimacy was more able to realise by the sleek and light playing. Rhythmic precision in the semiquavers opening of the last movement sustained the musical excitement. Beautiful ringing tone in the long notes yet did not indulge over expressive lyrical part. The coda was breathtaking by the crescendo of intensity and momentum through the technical display. It had also manifested a close working partnership between Ray Chen and Julio Elizalde with the same mind on phrasing and seamless dialogues in their playing.
Ysaÿe's fourth sonata was the only solo violin piece on the programme and again meant to impress by the challenging technicality. Ray Chen's tuning and technique were again impeccable in the first movement, but far forming a structure than a stream of notes. The tone colour was only rich and muscular than shading any contrast again. Pizzicato orientated second movement was again shapeless and tuning was not secure at the cross strings climbs. Phrasing improved in the final movement and the tone quality was more beautiful than before. Virtuosic brilliancy marked the lasting impression, but it needed further thinking how to shape the music than merely sailing through tricky corners.
Kochanski's arrangement, of Falla's Spanish folksongs for violin, made a change from demonstrating pieces to a more inward looking and meditative atmosphere. Both first and last movement melodically rich but never carry any big gesture. The mute was used in the second and fourth movement respectively. Tender and gentle lines intertwined between expressive emotions and sorrows. Appropriate rubato was employed to shape the dance like movement in a radiant tone colour. The fifth movement was alike a gentle ice skating with smooth harmonics slides. Monti's Czardas wrapped up the night in all theatrical exaggeration like bird squeaks by playing on the end of fingerboard. Though the tone control and tuning did not match the high standard set early on. Encores included Sarasaste's Habanera and Theme from the Schindler's List, which were given a fine rendition and the latter was particularly moving.
In contrast, Ray Chen's bold playing style was more suited to Saint-Saëns first violin sonata. The tempestuous and violent impression was vividly produced during the nervous and tense introduction of first movement. Again at virtuosic passage the sheer sense of dramatic intensity was carried and technically excelled, which one sensed the architecture and direction the performers had in mind. Though during lyrical sections in both first and second movement, the tone impression often lacked contrast and never relax. Emotional outpours overflowed and sometimes affected the tuning again on higher positions. By reaching the dance like scherzo of the third movement, intimacy was more able to realise by the sleek and light playing. Rhythmic precision in the semiquavers opening of the last movement sustained the musical excitement. Beautiful ringing tone in the long notes yet did not indulge over expressive lyrical part. The coda was breathtaking by the crescendo of intensity and momentum through the technical display. It had also manifested a close working partnership between Ray Chen and Julio Elizalde with the same mind on phrasing and seamless dialogues in their playing.
Ysaÿe's fourth sonata was the only solo violin piece on the programme and again meant to impress by the challenging technicality. Ray Chen's tuning and technique were again impeccable in the first movement, but far forming a structure than a stream of notes. The tone colour was only rich and muscular than shading any contrast again. Pizzicato orientated second movement was again shapeless and tuning was not secure at the cross strings climbs. Phrasing improved in the final movement and the tone quality was more beautiful than before. Virtuosic brilliancy marked the lasting impression, but it needed further thinking how to shape the music than merely sailing through tricky corners.
Kochanski's arrangement, of Falla's Spanish folksongs for violin, made a change from demonstrating pieces to a more inward looking and meditative atmosphere. Both first and last movement melodically rich but never carry any big gesture. The mute was used in the second and fourth movement respectively. Tender and gentle lines intertwined between expressive emotions and sorrows. Appropriate rubato was employed to shape the dance like movement in a radiant tone colour. The fifth movement was alike a gentle ice skating with smooth harmonics slides. Monti's Czardas wrapped up the night in all theatrical exaggeration like bird squeaks by playing on the end of fingerboard. Though the tone control and tuning did not match the high standard set early on. Encores included Sarasaste's Habanera and Theme from the Schindler's List, which were given a fine rendition and the latter was particularly moving.
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