Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Classical Party Music at Trinity Church

As much as musicians are accustomed to playing solo, it’s another thing entirely to play unaccompanied instrumentals in front of an audience. Thursday at Trinity Church, violist Yoon-Kyung Shin was up to the challenge. An intense, dynamic presence, she began the concert with Bach’s Suite No. 4 in E Flat, BWV 1010. It’s a series of six dance pieces: some of it, like the opening Prelude and lively Courante have the feel of etudes. But the rest of it, especially the brooding Allemande and slinky Sarabande gave Shin the chance to sway and dip for poignancy while keeping the stately beat. After all, this was party music, high-class 18th century style.

The party continued as Shin was joined by pianist Alexandria Le for Brahms’ Sonata for Viola and Piano in E Flat, Op. 120, No. 2. It’s a pretty amazing piece. On one level, from a 21st century perspective, it’s astonishing how Brahms was able to achieve so much diversity with it, and to keep it interesting for so long (it went on for at least fifteen minutes) using what appears to be simple major and minor chords. Of course, that’s not all that’s going on. Rich with allusions that artfully set up joyous resolutions, it’s anything but predictable, and Le had a great time with it, firing off one bullseye after another when the opportunities came along. With a playful camaraderie between the musicians, Shin’s steely resolve made a wryly fascinating contrast. Moving from the glittering, beery cheer of the opening Allegro Amabile, they backed away and let the starlit ambience speak for itself throughout the two closing movements

The two closed with Efrem Zimbalist’s Sarasateana Suite of Spanish dances, a considerably lighter suite, but not easy to play. Shin handled the lightning doublestops of the gypsy-rock flavored opening tango and miles-high astringencies of the Malaguena dance with effortless aplomb, Le digging in and lending a resonantly potent, Satie-esque plaintiveness to the quieter second movement. The party ended as it had began, the two joining forces energetically for the percussive clog dance movement to end it on a boisterous, carefree note.

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May 29, 2011 - Posted by | classical music, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , ,

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