I must say that it was a really an amazing experience to attend the first of a series of three concerts aimed at presenting all the ten sonatas that Beethoven composed for piano and violin at Ira F. Brilliant Centre for Beethoven Studies in San Francisco, on 18 January 2014. The…
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The pianist is at home with both ensemble playing and solo playing. Commensurately, Elizabeth Wallfisch is also a seasoned Baroque violinist from Australia. The two musicians really represented a highly accomplished team, ideally suitable for rendering the sophisticated and complicated compositions by Beethoven.
Going by the fact that the compositions showcased in this concert affiliated to chamber music, thereby they were played in a chamber. Not only were the acoustics of the selected chamber happened to be really good, but it also extended an aura of authenticity to the overall performance.
It does needs to be mentioned that the music rendered by David Breitman and Elizabeth Wallfisch may sound a bit queer to a listener who is predominantly exposed to the musical performances involving totally modern instruments. The gut strings of the period violin used by Elizabeth Wallfisch had a distinctive tone of its own, thereby extending a wide range to the violinist which she astutely exploited in the fingering choices she made. The concert pitch adopted by the violinist was quiet low, a choice that allowed for an ease with intonation, while calling for a recurring retuning between movements. On the other side the fortepiano that David Breitman selected happened to be a vintage Viennese model in which the white keys happened to be black and the black keys happened to be white. Thereby the sounds made by this piano differed a lot from its modern day versions.
The performance of both Elizabeth Wallfisch and David Breitman happened to be tenaciously lyrical in its melody, which not only did not fail to impress the classical virtuosos amongst the audience, but also had an impressive impact on the lay listeners. The playing of the fifth sonata on a fortepiano by David Breitman did allow for the possibility of preventing this composition from sounding way too pompous and dense as it happens
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