LF26:Schubert Music for Violin & Piano I
Holy Trinity Church Haddington 10/9 26
Maria Milstein (violin), Nathalia Milstein (piano)
The second Coffee Concert of this year’s Lammermuir Festival was on the morning of 10th September and comprised the first of two concerts surveying all of Schubert’s music for violin and piano, given by the Milstein sisters, violinist Maria and pianist Nathalia. This was Maria’s third visit to the Festival, as she is also the violinist of the superb Van Baerle Trio. Maria introduced the programme to the packed venue. I was delighted to see the familiar (and adored) Bösendorfer grand was still in use: an instrument well worth travelling to hear.
The Sonatina No.3 in G minor D408 shows the teenage composer mindful of Mozart but finding an individual voice in his turn of phrase and approach to harmony. A stern “call to attention” was followed by a conspiratorial passage before the major key delivered a sweeter melody. The flawlessly managed dynamic balance allowed each instrument to assume prominence where required, with some opportunities for chamber conversation in a well-crafted sonata form. A very Mozartian theme opened the slow movement on violin, answered by piano, leading to a conversation. After a repeat, a spooky key change led to some rhapsodic exploration for the violin. The original theme returned on violin, initially more ornamented. The ebullient confident third movement mimicked a minuet but was probably a bit fast for dancing. The Trio was reminiscent of Schubert’s waltzes. The finale’s wistful opening was overtaken by some more playful material in the major key. Another well-crafted sonata form concluded with cheerful confidence.
The Sonata in A major D574 ‘Grand Duo’is a different kettle of fish, in scale and scope undoubtedly, but also wearing a badge of admiration for Beethoven. Sunny lyricism opened with the violin prominent; the second theme more jaunty and playful, while a third had quirky exultant leaps. After the exposition repeat, the development was quite rhapsodic and exploratory of key and mood, including some stormy material that nodded to the revered Beethoven. The recapitulation gave me another opportunity to try to figure out what one of the themes reminded me of: definitely a Bond movie theme (‘You Only Live Twice’or maybe ‘Goldfinger’), The movement ended sweetly. The Scherzo was athletic, mischievous and virtuosic, even (I would say) more daring than Beethoven, and superbly well played. Its cheeky, waltzlike, smoochy Trio was full of slithering chromaticism and quite delicious, with a clever transition back to the Scherzo reprise. The Andantino was like a leisurely dreamy contemplative minuet, but with muscular interjections, occasional wandering off into remote keys and clever harmonic sleight of hand. It ended very elegantly. Playful mischief returned for the finale, a rambunctious waltz. There was lots of melodic work for the piano, lyrical moments for the violin, and cheeky conversation between the two. The muscular coda was built from multiple copies of the opening phrase. A stylish and compelling reading of a super piece, awarding it the utmost advocacy. It was no surprise, then, to learn that it was the first piece the sisters had played together in public some years ago. Wow.
Virtuosic though the ‘Grand Duo’ was, the ‘Rondo Brillant’ in B minor D895 was indisputably next-level, and then some. A first hearing for me, I would place it securely in my ‘BBB’ category: Bonkers But Brilliant. A ternary prelude in the form of a grandiose regal march framing a searching pensive lyrical middle section gave no clue to the chaos that was to be unleashed. Every rondo must have a recurring theme and episodes, and my best guess for the theme would be the virtuosic Hungarian dance that opened the Rondo proper. But I gave up on any attempted pretence of structural analysis of the self-subverting extrovert explosion of creativity very quickly, and surrendered to the white-knuckle ride. I have no other reaction to witnessing the “impossible”. Phenomenal virtuosity from both players, but especially the violin as star protagonist, just blew me away. Wow again. Ecstatic applause from the Haddington audience.
To calm racing heart-rates, the sister played a sweet encore, a charming arrangement of Schubert’s LIed, ‘Ständchen’. Exquisite.
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