At the conclusion of an extensive national tour and series of masterclass dates, popular violinist Ray Chen and pianist Julien Quentin still shone like quite an unparalleled pair of diamonds on the City Recital Hall stage.
Sydney Ray Chen fans were entertained with absolute fireworks in solo and other violin works from the early twentieth century and beyond. The chosen works could only have made their intended virtuosi dazzle the audience at each premiere with stunning bravura and elevated musicianship. The world premiere Australian work by Matthew Hindson in this Musica Viva concert was given similar treatment, its intensity comprehensively explored with the fresh and exciting chamber music flair this pair also brought to the rest of the programme.
In the opening Chaconne in G minor, (attrib Vitali) Julien Quentin’s sympathetic accompaniment was exemplary in providing a terrifically delicate ground bass tapestry over which Ray Chen delivered complex and technically demanding variations. This set the stage for some consistently fine interplay between the two players as well as indicating the level of bravura and virtuosic attention to the musical challenges to come.
César Franck’s Sonata in A major for Violin and Piano (1886) has been heard in chamber music rounds of the Sydney Piano Competition, testing the ensemble and interpretative skills of pianists with violinist. Ray Chen and Julien Quentin, with many awards and performance experience between them, worked together to deliver an exquisite floating lilt from the sonata’s outset.
The performance of this popular work celebrated Franck’s unique voice as a composer. It was also an excellent promotion for the the violin and piano sonata genre. The sonata was performed with fine fluidity and the momentum through the structure of Franck’s inimitable expressive structures was accelerated with neat virtuosic flourishes from both players.
Following interval, Ray Chen commanded the stage alone to present the fiendishly difficult architecture and string displays in Eugene Ysaÿe’s Sonata for solo violin in D minor. Amidst devilish virtuosity, Chen preserved the tender Romanticism of this single-movement assault on his instrument. He always had a reserve of energy with which to impress us with his incredible showmanship in the extraordinarily demanding technical passages.
A similar blend of exquisite lyricism and passionate display infused the piano and violin version of Ravel’s Tzigane (1924). Character and caricature abounded amidst the bravura in the violin playing. The texture and tone were once more balanced and enriched from colourful keyboard support.
Matthew Hindson’s new work, Violin Sonata No 1 ‘Dark Matter’ was given the best premiere possible by this duo. It’s beautifully accessible but intense narrative was drawn with great detail of figure and subtle soundscapes resulted.
This satisfying first violin sonata from Hindson features difficult playing for the violin, using extreme harmonics and string effects to highlight the instrument at the same time as demanding elaborate decoration of the intricate musical narrative. Such string challenges were well met and processed with supreme musicianship in the hands of Ray Chen.
Ray Chen’s rendering of all works written for virtuosi past was equally fine in this newly commissioned work. His heartfelt performances provided a breathtaking demonstration of his technique and expressive talent in this concert. The diversity in the programme enabled an enjoyably superb outlining of some history of violin and chamber music making during this highly entertaining event.
DARK MATTER :Ray Chen with Julien Quentin, Musica Viva played City Recital Hall.