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Four Piano Pieces, Op. 4 (Prokofiev), #3 (“Despair“) to movement #2 (“​Elan“) which is vintage Prokofiev in his treatment of musical ideas.
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Heavenly in a word. A curious contrast. In a similar way I have not yet had the time during this intense competition schedule to post my notes on their Stage I. However, looking back over them now I was rather overwhelmed by the overt expression of emotional intimacy between these two violinists. This unique and sensitive musical engagement once seen can never be forgotten. This unapologetic, almost theatrical intimacy on stage, is deeply affecting, taking us into a deeper dimension, a different realm of musical appreciation.

T here are a number of brief movements which I shall not attempt to describe here in detail. The effect is quite uncanny and most rewarding on many levels, both psychological and musical. Is this fancy just part of my Romantic imagination? Does it actually matter since it is so highly enjoyable? All one could feel was a wave of innocent joy in these two violinists being together. I had never heard this work before and the composer is unknown to me although he was eminent in Poland d.

An injection of modern, late Romantic realism into the past dream worlds they had created? I must confess to asking what this music is trying to say and did not come up with a completely satisfactory answer. However the two violinists helped me. They gave more than sufficient musical meaning in their deeply communicative interaction. Too often this is not the case in modern performance. It was as tonishing to watch this remarkable musical symbiosis. I found the content rather abstract even if passionate and wondered why they concluded on such an emotionally introspective note.

This sudden explosion suits this particular trio as compared to other groups I feel they have a muscular, robust even on occasion athletic manner of playing which suits many modern compositions admirably. The trio were most skillful in creating a particular atmosphere as an ensemble in this regard. There surely should be variety and relief from this concentration on the physical. I also felt there could have been more variation in timbre and expressiveness in this movement.

However I did not have the score before me so cannot verify if this is what the composer actually desired! A frequent pattern in modern compositions concerned with war. The cello provided an accurate counterpoint of reminiscence with violin and cello in creative unison.

Michael Moran (’The Reviewer’s Notepad’ author)

Highly likely. What would I be expected to identify with or recognize as a familiar human emotion in that case? Unfortunately I have no authentic idea. The movement is tremendously inventive but what is the musical meaning here? But now to Stage II if you do not object to me leaping ahead. The violinist plays with outstanding refinement and delicacy.

However I could not help feeling that Szmanowsky has depicted the shadow of inevitable death hovering over the tiny one in its cradle. Narcissus stares at his reflection, while his rejected suitor, Echo, looks on. The son of the river god Cephissus and the naiad, or nymph, Liriope, it was said that Narcissus would live to old age, if he never looked at himself.

He had gained many female admirers, entranced by his beauty, but he rejected them all. One of them, Echo, was so upset by his rejection that she withdrew from the world to waste away.

All that was left of her was a whisper. It was heard by the goddess Nemesis, who, in response, made Narcissus fall in love with his own reflection, at which he stared until he died. A narcissus flowered in his absence. This then seemed to be transformed into a romantic involvement with himself depicted on the violin with the piano creating the water of the pool. Then disaster is upon him as he gazes at his own reflection after being forbidden to do do. The god Pan lasciviously chases the wood nymphs.

The refinement and seductiveness of the Greek God was perfectly captured by this sensitive violinist. Pan a mercurial and whimsical creature emerges in this work. The duo used a significant variation in dynamics, colour and penetration of sound.

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Music of the most subtle sensuality. How does one describe this extraordinary unearthly music in mere words? The piano was percussive and the violin very agitated. A mixture of extreme violence and lyricism reigns in this movement. Arresting violin and piano echoes contrasted with violent spasms in this acutely challenging work for both partners of the duo, especially the violinist.

Supremely expressive playing. The work became almost rhapsodic at times with an atmosphere of ominous intent.

4 Pieces, Op. 4: No. 2, Elan

Such a range of moods, colours, timbres. Ayer might have observed? However, itwas always clear to me that was a triumphant, revelatory performance of a fiendishly complex and difficult work. Not only did this gifted duo need to penetrate the musical meaning and implications but also learn the work. Such a fine piece I had never heard before. I was tremendously impressed with the virtuosity and artistry of their opening performance in Stage 1.

This continued into this final. I have noticed his immaculate and remarkable embouchure. One cannot help reflecting on what a fine virtuoso on the flute he is and the marvelous co-ordination of these two instrumentalists in interpreting the amusing Fox-trot. I was able to concentrate on his timbre which I found so rich and varied in colour and texture. An affectingly expressive concluding phrase to this movement. He revealed even more virtuosity in effortless double and triple tonguing in some phrases.

Quite brilliant.


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Spectacular flute playing with double notes, trills…the entire arsenal. What a Duo this is! The sound envelope he creates is all embracing. This was stunning and breathtaking music. The piano and flute balance was perfect. I only hope the judges have the knowledge of the flute to recognize what a spectacular concert had just been performed. What intimacy in family life we have lost with the isolationist iPhone and the cheap thrills of computer games! T hey made no attempt to drown us in sound which must have been tempting. Many concerts at that time were held in secret in those dark years in private homes.

The chamber version involves witty exchanges between the two pianos and I looked for some humour here. However I felt they approached the work purely as a virtuoso exercise rather than a true dialogue between pianists and instruments. This made the work marginally less effective in performance. However I found the shifting moods of this composition rather depressing as life in Poland certainly must have been under the Soviets immediately following the conflagration.

There was a subtle conclusion with the resolution. I found great refinement and delicacy in the Bujok violin playing. This is a particularly meditative and introverted movement. Paulina Bujok was the only instrumentalist who tried to make eye contact with the audience and involve them with her performance. Con passione.

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I must say I admired the beautiful tone and perfect intonation this violinist extracts from her fine instrument. There was great variety of dynamics, timbre and expressive, nuanced phrasing in their interpretation. Well so it speaks to me emotionally. It seemed I was watching a lark ascending into the azure.

The association with beautiful birds seemed irresistible to me with a sound envelope so rich in color. The piano gave rhapsodic support while the violin inhabited the endless blue above. I found great emotional connection between the two members of this rather recently formed duo. The movement rises passionately to a climax with the return of the rhapsodic theme.

Four Pieces, Op. 4

Rather light in texture which seems to betray the influence of the Javanese gamelan orchestra. Allegro risoluto. I like this movement a great deal with its nostalgia for ballroom dancing. The passions of the night begin to build.