Wigmore Hall
Messiaen – Thème et Variations
Prokofiev – Violin Sonata
no.1 in F minor, op.80
Fauré – Violin Sonata no.1 in
A major, op.13
Stravinsky – Divertimento
There was much to enjoy in
this violin and piano recital, although Jack Liebeck took a while properly to
get into his stride, his intonation and depth of tone proving somewhat variable
earlier on, especially during Messiaen’s early Thème et Variations. The Theme suffered most in that respect, although
there was nothing to fault in Katya Apekisheva’s despatch of the piano part. In
the first variation, she offered a splendidly ‘hammerless’, post-Debussyan
account, bells verily tolling and resounding. Later spikiness seemed to presage
aspects of the Prokofiev sonata that would follow. The fourth variation seemed
to point to Messiaen’s often overlooked Franckian inheritance in a properly
full-blooded performance from both players. Indeed, the piano part seemed
closer than usual to Messiaen’s organ writing. The final variation offered a
taste of quintessentially Messiaenic ecstasy, notwithstanding an unfortunate
slip by Liebeck.
Prokofiev’s First Violin
Sonata proved more consistent. The first movement revealed what we might think
of as the ‘emerging chaconne’ quality of the opening theme and its
consequences. This was a dark, rich-toned, yet variegated performance, the
piano part astutely layered. The ghostly closing material disconcerted: the
piano rock-solid, the violin casting proper doubt upon alleged certainty.
Liebeck’s intonation again wavered during the second movement, but not really
to the detriment of its character. Apekisheva’s performance was splendidly
big-boned. Her opening una corda
flurries in the third movement seemed to look back again to Debussy, as if the
snow really were dancing. The violin melody that emerged above was nobly and
sweetly sung. There was a winning sense of contrapuntal battle and of fun between
the instruments in the final movement, before the sombre close paralleled that to
the first movement. Darkness of mood and quality of musical invention worked in
tandem.
Fauré’s First Violin Sonata
opened the second half. From the opening of the first movement onwards, it
sounded like what it is: a freer, subtler, far less obvious, precursor to the
better-known Violin Sonata of César Franck (a wildly overrated work). For me,
this early work is one of Fauré’s most attractive, but then I have yet to ‘get’
several of his later works, which many people whose judgement I greatly respect
consider his finest. Liebeck and Apekisheva achieved an excellent balance
between ‘Romantic’ ardour and hints of something cooler, subtler to come.
Lightness of touch did not deny emotional weight. Motivic unity was clear
without any need for (Franckian) underlining. The scherzo was especially
pleasing, a light-footed impression of Gallic homage to Mendelssohn. Various
tendencies were united in the finale, which yet remained true to its particular
character.
Stravinsky’s Divertimento completed the programme,
again in an excellent performance. The strangeness of the composer’s writing
for violin registered, albeit without undue exaggeration. Here, of course, it
is mixed with the strangeness of his response to Tchaikovsky. Rhythmic and
melodic ghosts of The Soldier’s Tale
danced in the Danses suisses, Stravinsky’s
changes of mood and character very well handled. The ‘Russianness’ of the
Scherzo seemed to evoke Petrushka’s Shrovetide
Fair’; indeed, ballet was, quite rightly, the order of the day thereafter. Liebeck
and Apekisheva showed themselves quite at home with the composer’s technical
and musical demands alike.
