Gala Concert - Gerard Willems & Evgeny Sorkin

Concert review
Annual Gala Concert - “A Night in Vienna”

Date: Saturday, 21st September, 2013, 7:30pm
Venue: Soldiers’ Memorial Hall, Bundanoon
The Artists: Evgeny Sorkin (violin) & Gerard Willems (piano)
The Program:
1. W. A. Mozart Sonata for Violin and Piano B flat K 454 (1784)
1. Largo 2. Allegro 3. Andante 4. Allegretto

2. Ludwig van Beethoven Sonata for Violin and Piano Op 24 “Spring” (1801)
1. Allegro 2. Adagio molto expressivo 3. Scherzo 4. Rondo

3. Johannes Brahms Sonata for Violin and Piano No. 2 A major Op 100 (1886)
1. Allegro amabile 2. Andante tranquillo, Vivace, Andante, Vivace di più, Andante, Vivace. 3. Allegro grazioso (quasi andante)

4. Fritz Kreisler Three Old Viennese Dances
1. Liebesfreud (Love’s Joy) 2. Liebesleid (Love’s Sorrow) 3. Schön Rosmarin (Sweet Rosemary) Encore: Tambourin Chinois.

Reviewer: Neil Mitchell
From the Introduction by Christine Miller, President of the Bundanoon Community Association:
“Those of us who were here last year would recall Mr Gerard Willems’ elegant performances with Jocelyn Ho of music for two pianos. Tonight Mr Willems is joined by Mr Evgeny Sorkin, a distinguished Sydney-based violinist. Both soloists are also academics in addition to their international eminence as musical performers. Tonight they will play a varied programme including Beethoven’s much-loved “Spring” sonata. Gerard and Evgeny have been engaged in recording all ten of Beethoven’s sonatas.”

Reviewer’s comments:
The concert was held before large audience (ca. 119 persons) on a mild evening. The audience was warm and the soloists charming in their comments that were addressed to the audience before each item.
The concert was given the theme, “An Evening in Vienna” because all of the composers whose work was presented had long musical associations with Vienna and, indeed, were buried there. The Hall had been decorated in a Viennese theme by the arts Bundanoon volunteers to a very good effect.
As to the programme, some comments are made:
The interpretation of the Mozart was classical in feel, precise and understated. The highlight of the piece was the glorious second movement which was played with great sensitivity and carefully considered tone colour. The bouncy final movement was impeccably phrased and never allowed to become ponderous. The artists allowed the joyful Mozart to shine through and speak for himself. A highly satisfying performance by any standard.
The Beethoven was played with flair and at relatively fast tempi throughout. Again we were treated to supreme artistry I in the second movement. The difficulty that all artists face when performing this movement lies in the comparative sparseness of the writing and not to play it as if it had been written by a late French romantic composer. When played with sensitivity, this movement has the rare ability to bring tears to the eyes. Mr Sorkin’s glowing tone was well matched by Mr Willems’ keyboard skills. Together they touched the core of the movement to reveal its chaste beauty. This movement alone was a “pocket master class” for musicians in the audience. This sonata was an ideal choice for a concert that was given in September.
The Brahms was played in an unashamedly romantic style, addressing the need for mellow, autumnal moments without wallowing in sentimentality. The performers kept the music moving exquisitely contrasting its dramatic moments with the more restrained, introspective section.
In regard to the pieces by Fritz Kreisler, they were anything but “fillers”. They were played with real commitment and flair. Although the programme notes said of these pieces, “Quintessentially 19th Century Viennese in feel, they demand nothing of the mind but speak directly to the heart”, they could only have been written in the twentieth century. Moreover, while Mr Sorkin played them with a reasonably straightforward approach and Mr Willems stretched the accompaniment within each bar, his rubato giving them a very twentieth century feel. I hope that these gentlemen will record these pieces.
General Comments: The artists were well-prepared and, of course, more than equal to the demands of the program. They played with musical scores. The ensemble work was exemplary, Mr Sorkin’s intonation perfect and the attention to detail was marked. Overall, this was a fine concert of the best international standard.