War clouds loomed over violinist Leila Josefowicz and pianist John Novacek at Subiaco’s Regal Theatre for Musica Viva on Saturday, with repertoire from 1914-18 and today’s Ukraine conflict framing Igor Stravinsky’s headline work, The Fairy’s Kiss.
Claude Debussy’s Sonata for Violin and Piano in G minor (1917) showed a brave face in searching chords and melody probing a bare stage — then bursting into life as if suddenly sure of the scene.
Josefowicz’s full tone and exquisite harmonics led Novacek’s gently rumbling piano in forthright conversation fitting Debussy’s dedication of the piece to his wife Emma; like a domestic discussion with a vigorous conclusion in the Allegro opening movement.
The “Intermede” second stanza was “whimsical” as intended; jazz rhythms underpinning insistent, intimate phrases played with relish and intent. Double-stopping violin in octaves with piano lent an operatic edge, settling in decorous dialogue and an irresolute cadence.
Piano tolled gently to broach the “animated” Finale as violin took off in flights of virtuosic fancy; slowing to meditate, soaring again in harmonics then joyous interplay to finish.
Karol Szymanowski’s Mythes (1915) sought solace in a trilogy of ancient legends, opening with rippling piano to evoke water as violin sailed serenely above for Arethusa’s Fountain. A free spirit graced a scene of natural beauty and intrigue as fluttering violin over ruminant piano summoned magic and drama.
Crystalline harmonics next captured the introverted dynamic of Narcissus, with well-judged discords to conjure the dysfunction of self-obsession. Edgy delivery, even in pianissimo moments, reflected the vicissitudes of fate in an antique universe.
Lurching into the finale with pagan abandon, Josefowicz sustained the other-worldly ambience of gods and monsters — in this case “Dryads and Pan”.
Swooning violin over restless piano broke to double-stopping then lithe harmonics in robust, fluid technique as cascades on the keyboard settled to a rumble, triggering humour in the cadence.
After the interval, British composer Charlotte Bray’s Mriya (2023) evoked the agonies of Ukraine under Russian invasion, the title translating as “dream, vision, ambition and vow”.
Menacing piano and musing violin summoned a desolate soundscape, delicately laced with foreboding. Jagged outbursts shattered the scene, falling back to fretful bowing and scattered shards of piano as deft control through multiple mood swings held the audience enthralled.
A keening lament in violin rent the air, sparsely supported by sombre piano in a brief, tragic interlude.
Quivering attack then fell to dramatic, transient tones mid-register to weave an even darker fabric, harsh in texture, tolling out in monotone.
Closing the bill, The Fairy’s Kiss (1932) re-entered the mythic realm in traditional melody modulated by inter-war tonality.
Jazz-age rhythms alternated with Slavonic sentiment in the opening Sinfonia. Echoes of a folkloric past shone through in homage to Tchaikovsky, with fast-and-furious figures putting both players on their mettle, slowing to a restful cadence.
Playful motifs spilled from keyboard and bow in the Swiss dance-themed second stanza; a bucolic romp giving away little of the underlying sinister plot, the titular kiss a fateful betrayal.
Blissful illusion continued in the Scherzo: At the Mill, a nuptial celebration attended by threat, as mellow mid-range melody showcased the resonance of Josefowicz’s art.
The duo set their own pace in the offbeat pas-de-deux finale; slow for the Adagio opening, then agile with pizzicato highlights.
Warming to the task, Josefowicz made full use of the bow in explosive tone and technique over Novacek’s energetic accompaniment, with a flourish to finish.
Finally, an encore of Charlie Chaplin’s Smile, from Modern Times (1936), settled the evening in wistful longing over generous chords to close, characteristically, in high harmonics.
Musica Viva returns to Perth on August 5 with Nicolas Altstaedt and Thomas Dunford at Winthrop Hall.
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