THE FOUNTAINHALL AT THE CROSS CHURCH
Monday 20th January, 2025
Pablo Hernán Benedi Violin
Erdem Misirlioglu Piano
REVIEW:
We have had a couple of misfortunes owing to illnesses in the current season of programmes for Aberdeen Chamber Music Concerts. Our opening concert on the 16th September had to be cancelled when pianist Nikita Lukinov was taken ill. He will still come and play for us on Monday 31st March, 2025. Season ticket holders will not have to pay for this replacement concert.
Today on the 20th January 2025 we were to have the Trio Isimsiz but cellist Edvard Pogossian was unwell and was unable to fly to Aberdeen. However because of the intrepidity of the other two members of the Trio, violinist Pablo Hernán Benedi and pianist Erdem Misirlioglu the performance was able to go ahead with a duo of violin and piano and with some solos from each. The result was a fabulously entertaining programme from the two superb performers. That same afternoon they created a special programme which I am sure our large Monday audience thoroughly enjoyed.
The original trio programme was to have had performances of music by Brahms, Schubert and Lili Boulanger and all three composers were proudly represented in the newly created programme. Pablo and Erdem opened with D’un Matin de Printemps by Lili Boulanger. It was brighter and less dark and melancholy than her other piece D’un Soir Triste which the Trio was to have played. Repeated figures were played with a special lightness on the piano while the violin played a dancing tune with a splendid sweep. A sense of intense fervour developed in the playing of this piece suggesting that we were in for some exciting performances to come. Dvořák’s Ballade for violin and piano in d minor Op.15 certainly lived up to expectations. Gentle piano chords were responded to by deliciously tender yet expressive violin playing. Meaningful changes in dynamics underlined the colours of the music leading to greater intensity from both players. That eastern European quality of Dvořák’s melodic writing shone through. Violin solo music by György Kurtäg was played with astonishing virtuosity whether quietly or powerfully by Pablo.
The following work was for solo piano. It was Schumann’s delightful Arabesque. It was played with considerable delicacy and clear delivery of every note. The increased excitement towards the end of the work was so well done.
To follow, the duo performed music from Orfeo ed Euridice by Gluck in an arrangement for violin and piano. The celebrated melody came through to delight everyone in the audience.
To complete the first half of the concert we heard the F-A-E Sonata by Brahms. The letters stand for Frei aber einsam. Interestingly, it matched much of the spirit of the opening movement of the Brahms Trio in c minor which we were originally to have heard. The music was intense and fiery leading to delightfully romantic melody. Energy and passionate playing from both piano and more especially violin was to follow.
The second half of the concert was devoted to music by Schubert. It opened with two delightful arrangements of songs by Schubert. There was a certain feeling of simplicity for the listener but perhaps not for the players as the song melodies shone through. The songs were Der Fischer D225 and Du bist die Ruh D776.
Before Schubert’s Violin Sonata in A Major known as the Grand Duo we were treated to a piece by Paganini, his Cantabile. That title of course means performance in a singing style. With its fine melody that is precisely what we enjoyed. It was delightful. It was not out of place among the music of Schubert since he was deeply impressed by the music of Paganini. Much of that composer’s music is wild and exciting but this piece was gentle and thoroughly delightful. With his deliciously silky violin tone Pablo certainly made this piece sing.
Schubert’s Sonata was in four thoroughly attractive movements. Once again there was a feeling of similarity between this sonata and the Piano Trio in B flat D 898 which we were to have heard. Schubert is above all the great song writer and the proliferation of melody in the Trio makes one think of that. The Sonata was similar. Both violin and piano were absolutely radient in this performance. Where the piano stood out melodically there was a marvellous freshness in the playing. As in the Trio, the finale Allegro Vivace had an almost folk-like melody. I almost felt like singing along. I’m glad I didn’t for the sake of those sitting near me. The way in which Schubert takes the melody and works on it to complete the Sonata showed just what a master of music he was. What would have happened to music if he had lived on into his eighties?
This had been a marvellous concert. The performers were both brilliant and considering how short a time they had to work on it, should we not call them heroic as well.
ALAN COOPER