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RECITAL REVIEW
A Violinist's Debut, Impressive Yet Disappointing
February 27, 2001
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By Steven Miller
Tuesday night's concert presented by San Francisco Performances was billed as the west coast debut of a violin–piano duo and featured serious sonata repertory, without the usual debutante assortment of virtuoso showpieces. It was nonetheless a violin recital, featuring the distinctively individual playing of Norwegian violinist Henning Kraggerud, partnered deferentially by his compatriot Helge Kjekshus.
Kraggerud possesses a beautifully fluid bow arm and a highly developed and impressive technique. His sound was rich, filling Herbst Theater to the rafters. He played everything with great heart, while obviously possessing a keen musical intelligence as well. Yet, despite flashes of inspiration, Tuesday's debut was a disappointment.
The last movement of the concert's opening piece, Grieg's Second Sonata, provided the highlight of the evening. Kraggerud brought out the melodrama of the music, alternating between tender and fierce and highlighting the dance elements of this folk-influenced music. The rest of the piece, however, received a more ordinary performance that was marred by an always-present, always-too-fast vibrato. The contrast between the white-hot violin playing and Kjekshus' noticeably cooler approach to the piano part made for an unbalanced partnership throughout the evening.
Janacek's searing 1914 sonata was also uneven. A compelling opening movement did not make up for the bland Ballada. In trying for long, lyrical phrases, Kraggerud skimmed over many of Janacek's unusual harmonies. In the last movement, the violinist's distortions of Janacek's rhythms turned terrifying fragments into lyrical pabulum. After intermission, Kraggerud and Kjekshus gave a performance of Brahms' G Major Sonata faster than any I have ever heard. While I recognized all the elements of a successful performance — beautiful sounds, well-sculpted phrases, sympathetic accompaniments — I felt like I was speeding past the Grand Canyon without pausing to look down into its inspiring depths or taking time to see the incredible vistas. Such was the strangeness of this interpretation that the usually deeply affecting end of the piece trailed off with an abrupt, almost casual shrug. Both performers would be well served to work on their stage manners. Lacking any kind of distinctive presence, they ambled on and off stage as if emerging from an all-night airplane ride. They responded to the polite applause with an unannounced encore (unfamiliar to me) that ended the concert with a fizzle. (Steven Miller is a free lance violinist and teacher.) ©2001 Steven Miller, all rights reserved |