Violinist Leila Josefowicz and pianist John Novacek presented a compelling program at Subiaco’s Regal Theatre for Musica Viva, navigating a musical landscape that spanned from the early 20th century to contemporary compositions. The concert, held on Saturday, featured works from 1914-1918 and a new piece reflecting the current geopolitical climate, all anchored by Igor Stravinsky’s “The Fairy’s Kiss.” The program masterfully blended historical context with modern resonance, creating an evening of profound musical exploration.
Debussy’s Sonata: A Journey of Discovery
The evening commenced with Claude Debussy’s Sonata for Violin and Piano in G minor, composed in 1917. The piece opened with a sense of searching, its chords and melodies probing the bare stage, before blossoming into a more assured and vibrant expression. Josefowicz’s performance was marked by a rich, full tone and exquisite harmonics, engaging in a dynamic dialogue with Novacek’s subtly rumbling piano. This rendition captured the spirit of Debussy’s dedication to his wife, Emma, unfolding like an intimate domestic discussion that culminated in a vigorous conclusion in the Allegro movement.
The second movement, the “Intermede,” lived up to its whimsical intent, with jazz-infused rhythms underpinning intimate phrases delivered with evident relish. The violin’s double-stopping in octaves, paired with the piano, lent an operatic quality, settling into a decorous exchange before an unresolved cadence. The “animated” Finale began with the piano’s gentle tolling, giving way to the violin’s virtuosic flights. The tempo ebbed and flowed, allowing for moments of meditation and soaring harmonics, culminating in a joyous interplay between the instruments.
Szymanowski’s “Mythes”: Echoes of Ancient Legends
Karol Szymanowski’s “Mythes,” a trilogy of ancient legends from 1915, followed, seeking solace and evoking mythic realms. The opening movement, “Arethusa’s Fountain,” featured rippling piano passages as the violin sailed serenely above, painting a picture of natural beauty and intrigue. The second movement, “Narcissus,” captured an introverted dynamic with crystalline harmonics and well-judged discords, reflecting the complexities of self-obsession. Josefowicz’s performance conveyed an edgy delivery, even in pianissimo passages, hinting at the vicissitudes of fate.
The final movement, “Dryads and Pan,” erupted with pagan abandon. Josefowicz sustained an otherworldly ambiance, depicting gods and monsters through swooning violin lines over a restless piano. The piece transitioned through double-stopping and lithe harmonics, showcasing robust and fluid technique. Cascading piano notes settled into a rumble, injecting a touch of humor into the cadence.
Charlotte Bray’s “Mriya”: A Contemporary Lament
After the intermission, the program shifted to contemporary relevance with Charlotte Bray’s “Mriya” (2023). The title, translating to “dream, vision, ambition, and vow,” underscored the work’s evocation of Ukraine’s struggles under invasion. Bray’s composition created a desolate soundscape, characterized by menacing piano and introspective violin, delicately laced with foreboding. Jagged outbursts shattered the tranquility, only to recede into fretful bowing and scattered piano fragments. The duo’s deft control navigated multiple mood swings, holding the audience captive.
A keening violin lament pierced the air, sparsely supported by somber piano in a brief, tragic interlude. The performance built tension with quivering attacks and transient tones, weaving a darker, harsher texture that concluded with a monotone tolling, a poignant reflection of conflict. This contemporary piece served as a powerful emotional anchor, connecting the historical context of the program to present-day realities.
Stravinsky’s “The Fairy’s Kiss”: A Mythic Conclusion
Closing the concert was Igor Stravinsky’s “The Fairy’s Kiss,” composed in 1932. The work revisited mythic themes, blending traditional melody with inter-war tonality. The opening Sinfonia featured jazz-age rhythms alongside Slavonic sentiment, with echoes of a folkloric past and homage to Tchaikovsky. Rapid figures challenged both performers, eventually yielding to a restful cadence.
The second stanza, a Swiss dance-themed movement, was a bucolic romp, masking the underlying sinister plot where the titular kiss represents a fateful betrayal. The “Scherzo: At the Mill” continued this theme of blissful illusion intertwined with threat, showcasing Josefowicz’s art through mellow mid-range melodies. The finale unfolded as an offbeat pas-de-deux, beginning with a slow Adagio before accelerating into agile passages with pizzicato highlights. Josefowicz’s performance grew in intensity, employing explosive tone and technique over Novacek’s energetic accompaniment, concluding with a flourish.
An Encore of “Smile”
The evening concluded with an encore of Charlie Chaplin’s “Smile,” from his 1936 film “Modern Times.” The piece brought a sense of wistful longing, with generous chords and a final flourish in high harmonics, providing a gentle and reflective close to a program rich in emotional depth and technical brilliance.
Musica Viva’s next event in Perth is scheduled for August 5, featuring Nicolas Altstaedt and Thomas Dunford at Winthrop Hall.
