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Warming, Cantabile, and Zany – The Boston Musical Intelligencer – Lyric Say

Music Mondays hosted violinist Angella Ahn and pianist Jean Schneider yesterday on the Scandinavian Cultural Middle in Newton and on livestream.

Though consisting “only” of a easy, arching melody over chords within the piano, Sicilienne for Violin and Piano by Maria Theresia von Paradis (1759-1824) gave us an introduction to the flexibility of each performers. Ahn’s violin sounded each candy and resonant whereas Schneider supplied a full bodied and sonorous accompaniment.

Beethoven’s Violin Sonata in C Minor, Op. 30 opens with held Gs within the piano adopted by 4 16th notes which define the threerd and 5th diploma of a C minor chord. The downbeat of the second measure is C, the basis of the triad. Though the primary two measures are an unequivocal affirmation of the piece’s key, thriller was conveyed by the pianist, who lifted off the downbeat C of the second measure. On condition that the observe is marked staccato, the mysterious and apprehensive really feel is undoubtedly what Beethoven supposed. The violin enters with the theme at m. 8 and though Ahn communicated the thriller, the violin’s capacity to make a slight crescendo on a held observe imparted contemporary lyricism to the phrase. The second theme has a strict, virtually navy rhythm that’s heard first within the violin and subsequent within the left hand of the piano. Schneider recalled the violin’s articulation completely, whereas the piano’s proper hand and violin doubled one another in a dynamically complementary method. When the opening theme returns it serves as a foil to a lyrical flight of fancy on the a part of the violin. Beethoven turns distinction into drama because the piece closes, with Ahn working easily by the opening motif underpinned by damaged octaves within the piano. Each devices be part of for a triumphant ending on a C minor chord.

Motion 2 is constructed upon an 8-measure-long singing legato theme heard first within the piano. The violin takes up the theme because the devices commerce principal and accompanying materials. The musicians communicated an attractive cantabile move all through. Simply once we thought the music couldn’t get extra attractive, Beethoven injects a number of fast stentorian C main scales in 128th notes, marked ff. Schneider attacked with gusto and precision. The piece ends with the piano lingering on an E flat pedal and pearl like scales whereas the violin sings the best of tunes, a barely embellished A flat triad. The legatissimo of the piano, mixed with the candy sound of Ahn’s violin made for a ravishing conclusion.

The scherzo and trio are playful and dancy with many offbeat sf’s including to the jauntiness. The ultimate motion begins with a rumble, a twice heard rising minor second adopted by staccato quarter notes and touchdown on a G main chord. There follows a four-measure theme that remembers the primary motion. The finale is turbulent with the twice heard minor second making all types of sudden appearances. The piece ends in a frenzied coda. The pair’s tight rhythmic, musical and textural coordination held it collectively, speaking the complete palette of Beethoven’s musical concepts.

Paul Schoenfield is thought recognized for mixing jazz and classical parts. The primary of his 4 Souvenirs for Violin and Piano, opens with a fast, aggressive, minor chord in each devices. It’s then off to a sequence of scurrying scales and arpeggios with the 2 devices both in coordination or imitating one another. Whereas giving their all to the gusto and rhythmic drive, Ahn and Schneider saved the ensemble taut and unyielding. At Tango the temper modifications, with the violin in languid step clever movement over a rhythmic piano half. The Tango rhythm is launched within the left hand at m. 16 and is then heard (with some breaks) till the tip. Every artist contributed a heat, mellow sound which made the piece much more luxurious. In Tin Pan Alley the dotted eighth 16th-note rhythm imparts a really feel of ragtime. The crystalline contact of the piano proper hand and violin, over the regular rhythm of the left hand, made us all lengthy for the Nineteen Twenties. Sq. Dance, is enormously advanced, and something however sq.. Leaps in each piano fingers, and modifications in meter are a part of the problem. The strolling bass within the piano left hand moored us on this zany composition. The viewers, thrilled with the eclectic program gave the artists a heat reception as all dispersed into the grey, cool March afternoon.

Retired medical biology researcher Dinah Bodkin is a critical beginner pianist and mom of Groupmuse founder Sam Bodkin.

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