Reviews
On a breezy, warm, summer evening, two of Tidewater Virginia's top, young, professional musicians gave an excellent performance of chamber violin and piano music. The arc of the program opened with an engaging Beethoven sonata, moved to charming music by Clara Schumann and concluded with a hugely dramatic sonata by Camille Saint-Saëns, riveting the attention of fifty or so listeners. The opening Sonata No. 6 in A Major for Violin and Piano, Op. 30/1 by Ludwig van Beethoven displayed Mr. Elliott's sweet violin tone in a lively dialogue with Ms. Willett's clear, precise piano touch. Throughout this demanding recital they offered perfect coordinated playing in music composed as an equal partnership for the two instruments. The sound of each instrument intertwined to give the third strand of melody. The ravishingly beautiful, slow, second movement has a persistent dotted rhythm and gently rippling triplets with occasional bold chords and a plucked violin string as ending. The final movement is theme and variations with a more animated tempo. Swift piano passages are followed by violin comments leading to an interesting interplay.
Clara Wieck Schumann had her own challenges. In 1853 she and husband Robert finally moved to a house large enough for her to practice and compose without disturbing her nervous husband. Over that summer she produced several works including Three Romances for Violin and Piano, Op. 22 in G minor, known for its striking lyricism. A lovely, romantic energy offers a clear delineation of form rather than being based on theme and variation. In II Allegretto the syncopated and soaring plaintive main theme creates an atmosphere of melancholy from which we are rescued by high-flying extroverted, almost majestic aggressive leaps and vigorous arpeggios in the violin. Swift piano passages are followed by brisk violin comments until they again play together the main theme that soars once more only to end on a surprising pizzicato chord. In III Leidenschaftlich schnell (Passionately quick) the energy of the playing builds to a new, even greater intensity. There is a playful sound in the piano with flowing violin until they join once again in a duet. Clara Schumann possessed an exceptional performing technique and she understood the violin. Our performers were brilliant in bringing Clara's music to life. The duo capped the recital with the four-movement Violin Sonata No. 1 in d minor, Op. 75 (1885) by Camille Saint-Saëns. They opened together playing Saint-Saëns "fast and furious." Ms. Willett created a stream of sound joined by Mr. Elliott in this the most dramatic music of the evening. Critics say Beethoven was the composer's inspiration. The emotion it inspired in me was breathless awe at the players' coordinated performance as they moved without a break into the more lyrical music of the second movement. It was a bit dreamy but never without intensity. Movement III had choppy tempos and glittering energy and was like a brook rushing down a steep mountainside. The music moved into a slower, enfolding energy. The fourth, Allegro Molto is a bit darker in mood and places virtuoso demands on each player and all that accurate flow of notes leads to a dramatic end. Newport News native Brendon Elliott has shown outstanding ability in contests and performances, both locally and nationally. As a teenager he was twice-featured on the nationally syndicated radio show From The Top. He performed in the play The Chevalier about the Creole violin virtuoso and composer Joseph Bologne with several major American symphony orchestras. He has several videos on YouTube and has performed with the Richmond and Virginia Symphonies. Currently this Curtis Institute graduate with a Masters from Juilliard is a member of Virginia Symphony Orchestra and teaches at the Governor's School for the Arts. Rebecca Willett grew up locally, studied at the Cleveland Institute of Music and has a Masters in Piano Performance from the University of Cincinnati College Conservatory of Music. She's performed internationally with Lincoln Center Stage and more recently with the Richmond and Virginia Symphonies. Currently she has a private studio and teaches at the Governor's School and performs often in Hampton Roads. Printer Friendly Format
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When Beethoven realized that in time he would become deaf, his depression led to thoughts of suicide. He resolved his personal anguish by deciding to stay until he “brought forth all he felt called upon to produce.” This freed him to explore, leaving behind the bounds of his predecessors. Out of this resolve came this piece and all that followed.