Devoted almost exclusively (with only one exception) to the violin and piano, the 2009-10 Irish Times Celebrity Concert Series opened last night with a recital from Russian violinist Viktoria Mullova. Considering the focus on the violin, the all-Bach programme from Mullova was an appropriate starting point for the series. Composed during his Cöthen period, Bach's sonatas and partitas for solo violin, and for violin and harpsichord are renowned as some of the most technically demanding and significant works in the violin repertoire.
The Sonata for Violin Solo in G minor (BWV1001) provided a sobering introduction to the evening's performance, opening with a grave Adagio first movement. Whilst the programme didn't specify which instrument Mullova had chosen for the performance, her recordings of the repertoire have been performed on a gut-stringed Guadagnini. Judging by the rich Baroque tone, performed with sparing vibrato, it is likely that Mullova was using the same instrument here. Nonetheless, whilst offering a more authentic experience of the Bach works, it is inevitable that the projection of the violin suffers, and particularly when in a venue such as the concert hall not specifically designed for the modest forces of violin and harpsichord.
On the whole, the evening's performance was marked by a sense of perfect restraint. Having recorded the six sonatas for Violin and Harpsichord in 2007 (see bottom of page for link to our review), Mullova and Ottavio Dantone have established an intimate bond in which neither overpowers the other in performance. With impeccable intonation evident throughout the performance, Mullova gently glided into the first movement of the Sonata for Violin and Harpsichord No. 1 in B minor (BWV1014), the performance an exemplary display of the purest counterpoint between the duo. Indeed, the Sonatas for Violin and Harpsichord are noted for emancipating the harpsichord from its role as continuo instrument to an equal partner. This is duly exploited by Ottavio Dantone, whose technical dexterity matches that of Mullova, yet he too refrains from any over-decorative or embellished lines, a style that skilfully complements his partner. Coupling this sonata with No.4 in C minor (BWV 1017), I am curious about the choice of an all-minor key programme, particularly in a programme that could too easily perceived as being dry, academic, and altogether too much of the same. Clearly, Mullova's formidable reputation as a Bach interpreter is well deserved, but one is forced to wonder if the restrained intensity with which she plays does not translate so well to the major key works in the context of a live performance.
Returning to the stage alone, Mullova informed the audience of her choice not to play the whole of Partita No. 2 for Violin Solo in D minor BWV 1004 as programmed, but just the Chaconne. With good reason, the Chaconne is often offered particular distinction; it is longer than the previous four movements of the partita together; a remarkably complex and demanding movement that has been frequently transcribed for other instruments. It was not until this Chaconne that I felt Mullova actually gave of her all, in an intuitive and passionate performance that had otherwise been kept just under the surface. Her absolute focus silenced the hall, as she delivered a relentless fifteen minutes of complete mastery that was both stunning in technical exhibition and breathtaking in its simplicity.
Viktoria Mullova & Ottavio Dantone perform this programme at London's Wigmore Hall on Wednesday 30th September
The National Concert Hall International Concert Season continues with Freddy Kempf, piano on Sunday 18th October.
Photo: Renaud Capuçon
Related articles:
Concert review: The Dresden Staatskapelle in Dublin
Concert review: Victoria Mullova with Katia Labeque in Dublin
CD review: Mullova in the Bach violin and harpsichord sonatas