As part of the Russian National Day celebrations organised by the Russian Centre of Science and Culture, a western classical concert was presented by Aylen Pritchin (violin) and Elisaveta Ivanova (piano), both laureates of international competitions.
The programme opened with Schumann’s Sonata No.1 in A minor for violin and piano, Op. 105 in 3 movements, wherein the central allegretto melds slow movements with scherzo.
The free-flowing piano responses tripping lightly alongside the heavy violin overtones brought brightness to the pooling melancholy in the first movement. In the second, a meditative soliloquy on strings shone with unexpected touches of whimsy. As the delicate, quick-stepping piano in the third movement gathered momentum, the dextrous interplay with violin soared into an exuberant flight in tandem.
Tchaikovsky’s Memory of a Dear Place (Souvenir d’Un Lieu Cher), Op. 42 in 3 movements – Meditation (D minor), Scherzo (C minor) and Melodie (E-flat major) radiated nostalgia, drawing listeners into a landscape of memory, loss and discovery. The effortless scaling of highs and lows was effected with natural grace. The swift second movement had all the elusive grace of a sure-footed chamois traversing rocky terrain. The third movement conveyed a letting go, an opening up to an acceptance of the present.
Maurice Ravel’s Tzigane - Rhapsodie de Concert, said to have been inspired by Hungarian gypsy airs, began with the impassioned violin. The urgency communicated a certain roiling, a gathering unrest. With piano joining in, some interesting permutations and elements of contrast emerged — fragile, skittering, exhilarating trills, traverses and glissandos sobered by powerful points of vehement emphasis.
After a brief intermission, the second part of the programme commenced with Bach - Rachmaninoff - Suite in E-major - Prelude, Gavotte and Gigue. The pianist’s solo sparkled, a jaunty spring in its step. Fingers effortlessly skimmed the keys with a clarity and precision that illuminated each note.
Chopin’s Fantasia in F-minor Op. 49, described as ‘one of the highest expressions of the composer’s genius’ is a thing of beauty. Beating at its core, is the heart of the Polish nation, its resolve firmed by insurrectionary songs such as ‘Litwinka’, to which Chopin makes an allusion.
The piano solo, surpassingly magnificent, was sombre, shaped by sculpted statements, Demanding complete immersion in the composer’s vision, the oeuvre saw the artist achieve the ideal balance between astounding skill and heart-warming insight. Other pieces included Mozart’s Rondo for piano in D-major K. 485, Chopin’s Waltz No.1 Op. 18 and Tchaikovsky’s Nocturne in C-sharp minor Op. 19 No.4 and Russian Dance Op. 40 No.10.
Gripping listeners from start to finish, the programme owed its success as much to the artists’ virtuosity as to the choice of compositions. While the recital was well-attended, it would have been a fillip to the visiting artists if a fair number of Chennai’s musicians and music directors had turned up to encourage the artists and sound out possibilities of musical collaborations to harness their expertise.
