Isabelle van Keulen (violin), Ronald Brautigam (piano)
Beethoven Sonata for piano and violin in G major Op.30/3 (1801-2) (from 1:37 on the broadcast)
Szymanowski The Fountain of Arethusa from Myths Op.30 (1915) (from 19:51)
Fauré Violin Sonata no.1 in A major Op.13 (1875-6) (from 26:34)
Wigmore Hall, London; Monday 8 January 2018
Written by Ben Hogwood
The broadcast can be heard on the BBC iPlayer by clicking here
Full marks to the Wigmore Hall for their choice of established recital partners and an invigorating program to start the 2018 BBC Radio 3 Lunchtime Concert series. Isabelle van Keulen and Ronald Brautigam were clearly brought in to blow away the January blues and dispel any ‘back to school’ feelings among the audience, and they did so with freshly minted interpretations of Beethoven, Szymanowski and Fauré.
Beethoven’s eighth published Sonata for piano and violin, the third of his Op.30 set, began the concert (from 1:37 on the broadcast link). This spring-like work flew off its perch with a flourish, and once a few minor tuning issues at the outset were settled van Keulen and Brautigam enjoyed the close-knit ensemble playing in the first movement.
The second movement, a slow Minuet (from 8:00), was delivered as a passionate song and dance, a little quicker than expected, while the third movement (from 15:00) threw open the doors once again, van Keulen enjoying its folk dance associations.
The first of Polish composer Karel Szymanowski’s 3 Myths, also Op.30, had added electricity. Heralding a new sound world for the composer, The Fountain of Arethusa began with a watery cascade of notes from Brautigam (from 19:51), matched by tensile high register playing from van Keulen, both vividly portraying the fountain but also exploiting the sensual harmonies and rich textures. Hopefully van Keulen will go on to record the composer’s works for violin and piano.
The concert finished with one of the sunniest of works for the combination. Fauré’s Violin Sonata no.1, his first work in the form, surged forwards from the outset (from 26:34), the longer melodic phrases beautifully measured on the violin, while Brautigam’s sensitivity in balancing a busy piano part was a notable achievement.
The second movement (from 35:35) introduced darker, shaded thoughts and grew to a passionate climax of real stature. The third movement Scherzo (from 41:55) was a delight, showing off the qualities that secured an encore at the work’s first performance in Paris in 1877. The finale (45:45), initially elusive, brought all these elements and more together, and finished with an impressive sweep.
There was room at the end for an appropriate encore, giving homage to centenary composer Lili Boulanger. She died in 1918, aged just 24, and her Nocturne (from 52:13 on the broadcast), beautifully shaded here, was an atmospheric example of her unfulfilled potential.
You can listen to recorded versions of the repertoire in this concert on this Spotify playlist. Meanwhile if you enjoyed the Fauré and Szymanowski in particular, this lovely disc from Augustin Dumay and Maria João Pires shows the depth of European repertoire from the 20th century for violin and piano.