There’s nothing easy about 90 minutes of solo violin music. It’s a high-wire act for any violinist — not only must he carry the concert’s entire melodic, harmonic and rhythmic weight single-handedly; he also must make the music so compelling that any limitations of the solo form just seem to vanish. The challenges are huge, but as the Hungarian virtuoso Kristóf Baráti proved in a gripping, extraordinarily powerful performance at the Phillips Collection on Sunday, so are the rewards.
The six sonatas and partitas that Bach wrote for unaccompanied violin make up the spiritual heart of this repertoire, and Baráti opened with two Bach-inspired sonatas from 1924 by the celebrated Belgian violinist Eugène Ysaÿe. Rather than tossing off these virtuosic showpieces as mere appetizers, though, Baráti probed into them with extraordinary intensity and an almost orchestral range of expression. Virtually motionless, eyes closed to the world, he seemed to immerse himself in the sonatas as much as play them — a self-effacing lack of showmanship that let the music emerge with unexpected power.
But if the Ysaÿe works were impressive, Baráti’s reading of Bach’s Partita No. 2 in D Minor, (BWV 1004) — the concert’s center of gravity — was nothing less than revelatory. A five-part dance suite that concludes with a searing chaconne, the partita may be the greatest of all works for solo violin, and Baráti’s performance was, in a word, masterful. Probing, austere, meditative, it rang with a rare sense of authenticity and almost majestic scope.
Bach was also the inspiration for Béla Bartók’s Sonata for Solo Violin, BB 124,— which opens with a chaconne-like movement — and Baráti turned in a reading that was almost painful in its intensity of feeling. The work pushes the violin to the limits with a wildly inventive palette of sounds, and its often wrenching emotional landscape (it was written in 1944) makes it a work not for the faint of heart. But Baráti played it with such insight and understanding that the audience erupted in a sustained standing ovation at the end, bringing him back for an encore, Paganini’s Caprice No. 1.
Orchestras tend to be cautious things, obliged by economics to stick to well-trod musical paths. So it’s always interesting to hear members of the National Symphony Orchestra play chamber music, where they can be as adventurous as they like. That was the case at the Terrace Theater on Sunday afternoon, when the Kennedy Center Chamber Players presented such unusual, rarely heard music as the modernism of Bela Bartok to the lush romanticism of Anton Arensky.
Violinists Marissa Regni and Jane Stewart opened the program with a dozen brief duos by Bartok. Written in the early 1930s as technical studies for the violin, they were never intended for performance, but Bartok being Bartok, neither are they light throwaways. Biting, playful, introspective and steeped in Hungarian folk music, the duos were as challenging expressively as they were technically, and Regni and Stewart made them sing. Regni was then joined by NSO principal cellist David Hardy for Maurice Ravel’s Sonata for Violin and Cello. The afternoon’s most familiar work, it also was its deepest and most accomplished — a lean, taut work that Hardy and Regni treated with the cut-to-the-bone seriousness it deserves.
The viola is often overshadowed in chamber music by its siblings in the string family, so the unusual Fantasia for Four Violas, Op. 41, No. 1, by British composer York Bowen, was something of a revelation. A quartet of violas might sound like too much of a good thing, but this warm, elegiac work conjures a striking range of textures and effects and handles them masterfully. It’s heartfelt (in a restrained, English way, of course) and elegant, perhaps a bit stuffy to modern ears but well worth hearing nonetheless.
The music of Arensky — a Russian prodigy who studied with Rimsky-Korsakov, drank himself to death at age 45 and, oddly, has a glacier in the Antarctic named after him — is not widely heard anymore, but his Quartet for Violin, Viola, and Two Cellos, Op. 35, from 1895, is a gem. The profound, introspective work written in memory of Tchaikovsky uses the two cellos to beautiful effect, adding depth and darkness without heaviness. The Kennedy Center players brought searing expressive purpose to the music, particularly in the massive second movement, with its elaborate variations on a theme of Tchaikovsky’s.
You didn’t have to be a fan of El Greco to enjoy the National Gallery of Art’s musical homage to the Spanish Renaissance painter on Sunday evening. (The gallery is celebrating the 400th anniversary of the painter’s death.) In fact, the concert was more a foil to El Greco’s thundering religious intensity than a reflection of it, with the Baltimore Consort presenting a colorful, wide-ranging program of Renaissance music that was long on charm and cheerfully short on religious fervor.
Much of that charm came from the music itself, a collection of secular romances, dances and popular songs known as villancicos that would have been popular around the turn of the 17th century, when El Greco lived in Spain. Drawn largely from court songbooks of the time, the program wove tender love songs together with virtuosic instrumental works and comic songs from such composers as Juan del Encina, Alonso Mudarra and Diego Ortiz (and, of course, the ubiquitous “Anonymous”), with superb playing from the consort’s virtuosi, particularly Ronn McFarlane on lute and Mindy Rosenfeld on flute and recorder.
But it was Brazilian countertenor José Lemos who really stole the spotlight. Lemos was front and center for most of the evening, bringing a light touch, engaging wit and perfect control to everything he sang, from the flirtatious “Yo me soy la morenica” to Juan del Encina’s comical “Cucú, Cucú, Cucucú.” The gallery’s West Garden Court tends to swallow soft-voiced Renaissance instruments — viols and baroque guitars are no match for its swampy acoustics — but Lemos set his voice perfectly against the consort players, bringing deep feeling and a deft, improvisatory freshness to the music.
In “Oscillations” — her debut album released earlier this year — the Israeli pianist Einav Yarden paired Beethoven with Stravinsky to striking effect, tying that unlikely couple together with imagination and exceptionally vivid playing. She brought those same qualities to a recital of Bach, Ravel and Schubert at the Phillips Collection on Sunday, and while the afternoon may have been a bit short on adrenaline — this was not a keyboard-thrashing display of virtuosity — it showed Yarden to be a probing, incisive pianist with a beautiful sound and an impressively transparent touch.
That transparency was quickly evident in Bach’s “ English Suite No. 2 in A minor,” which opened the program. If you like Glenn Gould’s Bach, you’ll like Yarden’s: crystalline and precisely balanced down to its molecules, with superb voice-leading and a sense of purpose in every note. Yarden might not have the hyper-immaculate technique that’s become the new normal in classical music, but if you looked past the minor flubs, she turned in a reading that had something much more important: a sense of immense majesty, tempered with gentleness and quiet grace.
Maurice Ravel’s “Valses Nobles et Sentimentales” from 1911 gave Yarden the opportunity to display her more lyrical side. This suite of eight waltzes still sounds adventurous and even edgy, and Yarden seemed to revel in its quick shifts of light and dark, its shimmering textures and its playful, sly wit — bringing the same clarity to Ravel that she brought to Bach.
Piano recitals often close with a high-octane piece designed to get the pulse racing, but Yarden chose Schubert’s “Piano Sonata in G Major, D. 894” — a work that glows with serenity for a good half hour, then just sort of falls asleep. There’s little of the heaven-storming that Schubert dishes out in his other sonatas, but Yarden brought a quiet sense of drama to the work, and the delicate mix of wistfulness and thundering that she found in the Andante was worth the price of admission.
Still, it was a welcome treat to hear Stravinsky’s “Piano-Rag-Music” as an encore. This spirited, jagged work from 1918 (think Cubist jazz, with a Russian edge) is not often heard — and Yarden’s quick, lively reading brought it alive.
It's probably fair to say that Hans Abrahamsen is not the world’s most exciting composer. His music is deliberately spare, enigmatic, understated. It moves about as quickly as a glacier on valium. Simple musical gestures are repeated, and repeated, and then repeated some more. If you’re looking for drama or exuberance or gut-wrenching passion in music — or even just evidence of a pulse — this rather muted Danish composer may not be your cup of tea.
But Abrahamsen has his champions, including the formidable young Jack Quartet, which performed all four of his string quartets on Sunday afternoon at the Phillips Collection as part of the gallery’s Leading European Composers series. The works trace an arc through the composer’s career, from the teenaged Quartet No. 1 (“Ten Preludes”) from 1973, to the gentle last quartet, completed in 2012 after 20 years of gestation, and often display considerable musical imagination and mastery of a range of styles.
Yet despite a committed performance from the Jack players, the overall effect was, in the end, underwhelming. Abrahamsen should be taken on his own terms, of course, and the distant, withheld writing that runs through these works has a certain serene beauty.
But there’s a fine line between transcendent minimalism and brain-crushing tedium, and the flashes of poetry and fire in Abrahamsen’s music often seemed to wash away in a sea of musical thumb-twiddling. Patience — much patience — was required, and in the end, little of importance seemed revealed.
It would be tough to get more up-to-the-minute than the concert of contemporary Chinese music at the Freer Gallery of Art on Saturday, where four of the six works on the program were written just this year. And it would be equally hard to find such a range of richly imaginative new work — steeped in tradition yet thoroughly 21st-century — that transcends nationalism but retains, at its heart, a compelling and distinctive Chinese sensibility.
That description might also apply to the venerable New York-based ensemble Music From China, which designed a program to dovetail with the new Freer exhibit “The Traveler’s Eye.” Combining such traditional instruments as the erhu (a two-string fiddle), pipa (lute) and dizi (bamboo flute) with cello and Western percussion, the group opened with the 18th-century reverie “A Moonlit River in Spring,” then embarked on more modern journeys in Chen Yi’s lively, folk-song-based “Three Dances From China South” (2014), Eric Moe’s “A Panoramic Guide to Glacier Travel” (a dense new work that unfolds with the stately gravity of glaciers) and the poignant, plaintive and moving “Leaving Home” (2014), by the ensemble’s erhu virtuoso, Wang Guowei.
But the standouts may have been two striking and very exciting works by Zhou Long and Huang Ruo. Long’s “Mount a Long Wind” is a vivid, edge-of-the-seat tone-poem from 2004 depicting the voyage of a Chinese dragon boat through a gathering storm. Ruo’s “The Murmuring Path” wasn’t as overtly specific — the composer describes it as “a personal journey” — but was just as perfectly drawn: an expressive and fiercely inventive new work, exploding with off-kilter rhythms, otherworldly colors and wild, galloping imagination.
Even at its most secular, the music of J.S. Bach is so radiant with religious feeling that to title a concert “Bach and the Divine” seems almost redundant. But on Saturday night at Georgetown’s Dumbarton Church, the PostClassical Ensemble — a group more known for revolution than reverence — brought a lively and very human sense of spirituality to an all-Bach program that showcased the remarkable singing of bass-baritone Kevin Deas.
The evening opened with the “Air” from Orchestral Suite No. 3 in D Major, BWV 1068, in a limpid reading that embodied much of what makes Bach’s music “divine” — the luminous beauty, the sense of a universe in perfect balance, the unity at the heart of the music’s intricate complexity. But music director Angel Gil-Ordóñez (whose wonderful conducting style is equal parts dance, bullfighting and ecstatic bliss) also brought great warmth and even sensuality to the music, setting the tone for rest of the evening.
Deas and oboist Igor Leschishin took the leading roles in the cantata “Ich habe genug” BWV 82, Leschishin’s deft, alert touch providing a fine foil to Deas’s clear and incisive voice. Deas brought an introspective power to his singing, never striving for effect or the stentorian bellowing that baritones are sometimes prey to. He was equally convincing in the lilting aria “Mache dich mein Herze rein” from the St. Matthew Passion.
Leschishin returned for the Concerto for Violin and Oboe in D Minor, BWV 1060R, joined by Netanel Draiblate, the ensemble’s new concertmaster. Draiblate is a find — a violinist who combines confidence and virtuosity with a playful musical personality — and the concerto came off with such vitality that it sounded as if Bach had written it last week.
The Duke Ellington School of the Arts Chamber Singers joined the ensemble for a lively, hugely fun reading of the choral cantata “Nun ist das Heil,” BWV 50, which closed the evening. The young singers turned in an extroverted performance, and Gil-Ordóñez immediately called on them to sing it again — joined, this time, by the audience. The sing-along didn’t find many takers, despite Gil-Ordóñez’s infectious enthusiasm; it’s not an easy piece, scores were few and far between and perhaps we’re all a little shy. But the effort underscored the refreshing lack of stuffiness that has become the hallmark of the PostClassical Ensemble’s concerts — still among the most interesting in town.