Violin Archives - ROVING PIANIST

Magdalena Filipczak solo

On May 19th, 2019, violinist Magdalena Filipczak and pianist Jessica Xylina Osborne gave a recital at the Anthoine Penthouse in New York City. The program was an eclectic collection of 19th to mid-20th century works, with a sizeable Polish component.

Here are the works that were played.

Bacewicz: Polish Caprice for solo violin

This work was written by the Polish composer Grazyna Bacewicz, at one time a student of Nadia Boulanger. You can hear Grazyna herself play it. It is a brief, entertaining piece that opens in a reflective mood. It transitions to a fast dance, replete with challenges for the violinist.

Britten: Reveille

Magdalena’s interest in the music of Benjamin Britten dates back to years she spent in London, U.K. She likened this work to the violinist yawning as he gradually wakes up. Magdalena’s yawn was a muted portamento that repeats and evolves as the work progresses. Later we hear hints of a military trumpet. The work closes with sudden dissonance and a flourish. The reason for this was unclear to me. Did the violinist fall out of bed?

Wienawski: Polonaise in D major, Op. 4

Available on YouTube as Wieniawski Polonaise in D Major.

Magdalena Filipczak and Jessica Xylena Osborne

Previn: Song from Tango, Song and Dance

Magdalena played this sad, delicate work with grace. You can see Anne-Sophie Mutter play it at THE RECORDING OF TANGO, SONG AND DANCE.

Piazzola: Bordel from The History of Tango

I like Piazzola, but in this work the composer had pianist Jessica tapping rhythmically on the piano, which broke the spell.

Ravel: Blues (Violin Sonata No. 2, second movement)

This work was difficult to absorb on first hearing. There are echoes of Ravel’s Left Hand Piano Concerto mid-way through, but I did not feel that Blues was of comparable stature.

Szymanowski: Peasant Dance from Harnasie

Available on YouTube as Szymanowski Danse Paysanne from Harnasie (Filipczak)

Karlowicz: Selected songs, Op. 1

Ms. Filipczak is also a singer! She sang two short songs by Mieczyslaw Karlowicz, a composer whose short life crossed from the 19th to the 20th century. This delightful romantic fare was given life by Ms. Filipczak’s luxurious vibrato and closed on a perfect high note.

Debussy: Violin Sonata

This esoteric violin sonata was the composer’s last work. It’s not easy to follow, but Ms. Filipczak played it with conviction. It is available on YouTube as Claude Debussy Sonate No.3 Live Recording (Esther Abrami).

Wienawski: Fantasia on themes from Gounod’s Faust, Op. 20

This was my favorite work of the evening. At times sounding like a cross between Schubert and Chopin, it is a bright, approachable work. The interplay between Magdalena’s violin and Jessica’s piano was delightful.

Jessica, host Rita, and Magdalena

Closing thoughts

The intimate performance space at the Anthoine Penthouse gave the audience a larger-than-life experience. In a modest-sized room, a violin has power and resonance that amplifies the emotional texture of a work.

My lasting impression of Ms. Filipczak’s performance is one of clarity, consistency and beauty. I enjoyed almost everything that she played, and was impressed by what seemed to be effortless coordination between violin and piano.

On Wednesday, May 5th 2019 at 7:30 pm at The Kosciuszko Foundation in New York, you can see Magdalena and Jessica play this program. See Inspired by Song and Dance – A recital by Magdalena Filipczak, violin and Jessica Xylina Osborne, piano.

Grace Park playing a 1799 Nicolas Lupot violin at Central Park West

Grace Park with the 1799 Lupot violin

Grace Park and Joseph Liccardo

On Saturday November 3rd, 2018, violinist Grace Park and pianist Joseph Liccardo performed at Robin Shoemaker’s Central Park West salon.

My anticipation of this event grew when I learned that Ms. Park was playing a 1799 Nicolas Lupot violin.

Mozart: Sonata for Violin and Piano in E flat Major K. 481

The first movement contains lively dialog between violin and piano. Ms. Park and Mr. Liccardo maintained an apparently effortless coordination, allowing the Molto Allegro to flow naturally across the movement’s choppy phrasing.

In the Adagio, Ms. Park’s violin rose gracefully (sic) over the accompaniment, first as a slow dance and then to sing. In her hands this violin shone in the higher registers.

Overall, Mozart’s Sonata No. 33 was a well-balanced collaboration between two musicians who clearly loved what they were doing.

Brahms: Sonata No. 2 for Violin and Piano in A major Op. 100

This warm, entertaining work was at times expressively lyrical. At other times it was technically demanding. In fact, the Sonata was a showpiece for both musicians.

In that regard, there were moments when Joseph’s piano sounded as sweet as Grace’s exotic violin. And I enjoyed Ms. Park’s vibrant pizzicato immensely.

Neither musician wasted energy on superfluous showmanship. But I had to chuckle when Brahms got the violinist dancing around (apparently on bare feet).

Grace Park with Joe Liccardo and Robin Shoemaker

Joseph, Grace and Robin Shoemaker

Tchaikovsky: Souvenir d’un lieu cher Op. 42

Souvenir is a wonderfully Russian work and quintessential Tchaikovsky.

There are pounding rhythms reminiscent of the 3rd movement of the 6th Symphony, and soaring melodies. The performers were equally at ease with both.

And again, the collaboration between pianist and violinist was perfect.

Stravinsky: Divertimento for Violin and Piano after ‘The Fairy’s Kiss’

This work is Stravinsky’s derivation (with violinist Samuel Dushkin) from his own orchestral ballet “The Fairy’s Kiss”, which in turn was based on songs by Tchaikovsky.

That said, Divertimento is very much Stravinsky’s own unique work, with manic dance rhythms and echoes of his other compositions.

Notwithstanding that they had already been playing for an hour, Mr. Liccardo and Ms. Park engaged Stravinsky with vigor and enthusiasm. The result was a highly enjoyable and often compelling performance.

Nicolas Lupot Violin

Some refer to Lupot as the “French Stradivarius”. I didn’t know what to expect of such a unique instrument as his 1799 violin from Paris, but I noticed a particular sweetness in the upper middle register.

Later I asked Ms. Park what it is like for her to play the Lupot. She responded that the instrument is in perfect condition, very responsive to the performer, and crystal clear especially at the top end.

“It sparkles differently than a Strad”, she said. “I love it.”

Violinist Magdalena Filipczak at the Anthoine Penthouse