Exquisite performances close out festival
The Kodaly sonata is rarely performed today, but it is a work of infinite charm and lyricism that belies its neglect. Those present at Sunday's concert were treated to a wonderful performance of this gem by two of the most literate and thoughtful chamber musicians today, cellist Scott Ballantyne and pianist John Jensen.
The duo gave a stunning reading of this two-movement sonata that captured the expressive mood of the opening movement and the rhythmic rapture of the second.
The first movement is quite evocative and successfully blends Hungarian melodic elements with impressionistic writing for the piano (which also occasionally moves into the cello part as well). It opens with a gorgeous solo for the cello, which Ballantyne played exquisitely. The resonant, rich sound of his instrument is well suited for this solo and it added significantly to the finely modulated expressiveness of his interpretation.
Jensen ended the concert with Ives' massive "Concord" Sonata, written around the same time as the Kodaly, but worlds apart in terms of content and impact.
The four movements of the work portray four quintessential New England people or families: Emerson, Hawthorne, the Alcotts and Thoreau. The sonata is one of Ives' major works, along with the "Three Places in New England" and the Fourth Symphony, and these three are without question among his best.
Listening to Jensen make sense of the complexities and dense writing of this eclectic score, one was immediately struck by the fact that he is indeed a rare breed of pianist. Jensen is a natural when it comes to works such as the "Concord" Sonata. He tackled the nearly impossible here and gave a wondrously lucid reading that was profound and offered rich insight into the mysteries of the work.
Jensen displayed his immense talent and technical mastery of the piano as he deftly maneuvered his way through the clusters of chords and sonorities and through the many bravura passages in which his fingers flew up and down the keyboard seemingly in a blur. It was a tour de force presentation of a work that few pianists attempt.
E-mail: ereichel@desnews.com
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