* Notes *
Violinist Midori (pictured, {photograph} by Nigel Parry) and pianist Özgür Aydin gave a recital impressed by Federico Garcia Lorca’s poem Casida of the Lament. The enjoying was vibrant and diverse.
Midori has an unimaginable vary so far as her method. She actually can get all kinds of sounds and colours out of her instrument. This was particularly clear within the finale piece she performed, Ravel’s Trigrane, which is ridiculously quick. The Ravel instantly earlier than this, Kaddish (arr. Garban), is extra melancholic, a pleasant distinction.
From the get-go Midori displayed her immense expertise with Schumann’s Fünf Stücke im Volkston for Violin and Piano, Op. 102. It was onerous for me to deal with Aydin’s enjoying, Midori is such a presence. His enjoying is supportive and lucid.
It is very odd how a lot Midori contorts her physique, she appears like she’s sawing her violin however the sound is totally stunning and managed. She strikes her eyebrows quite a bit as she performs. Brahms’ Sonata No. 1 in G Main Op. 78 shouldn’t be a chunk I usually look after, however the first motion (Vivace ma non troppo) had me in tears, one thing about Midori’s bowing simply chokes me up.
Midori and Aydin additionally performed Poulenc’s Sonata for Violin and Piano, which was bracing and humorous. Midori’s pizzicato is spectacular.
* Tattling *
There was some gentle speaking, particularly in Row B and C round Seats 12 and 14. I additionally famous that there was video recording from these patrons as properly. Not less than no digital noise was famous.
My 7 year-old daughter’s pal, who was not in attendance, commented earlier than the present that I like to go to performances, and my youngster piped up that I additionally “prefer to see pals and discuss quite a bit.” I used to be indignant, however noticed a minimum of 7 those that I knew on the recital.
