Bach, Beethoven, Schumann, Enescu, Bartók and Prokofiev: works for violin and piano. Valeriy Sokolov (violin) / Eric Ferrand N’Kaoua (piano). Wigmore Hall. 13. 5.2008 (ED)

Bach: Chaconne from Partita No. 2 in D minor for solo violin BWV1004
Beethoven: Romance in F Op. 50 arr. violin and piano
Schumann/Kreisler: Fantasy in C Op. 131
Enescu: Violin Sonata No. 3 in A minor Op. 25 ‘dans le caractère populaire roumain’

Bartók: Night time in Transylvania
Prokofiev: Violin Sonata No. 2 in D Op. 94a


This is just the sort of programme, featuring standard repertoire alongside some more adventurous choices, to show what a violin and piano duo is really made of, and accordingly, I relished the prospect of this recital for some time beforehand. Some audience members I encountered in the foyer expressed some disquiet about it. The consensus seemed to be that it lacked shape or overall unity. My view is that it is as perfectly possible to have a successful evening of contrasts – as here, with a German first half played off against a mainly Romanian and Russian second – as one might get from a programme that expounding a sense of inner logicand progression.

Bach’s lengthy solo Chaconne taxes violinists on several levels: maturity and maintenance of tone to name but two. Sokolov found security in the latter with clean bowing even if his playing at times did sound rather more like a competition entry exercise than springing from the spontaneity that comes with confidence and experience.  The Beethoven Romance was rather piano led, though the violin seemed a little on dry side for my taste; I would have preferred a greater degree of tonal variation within it to bring it more fully to life. That said, there was little doubting Sokolov’s purpose towards the music in his playing.

Schumann’s Fantasy in C exists in the repertoire almost entirely because of  Fritz Kreisler. Suitably imbued with a romantic touch and feeling for the rich melodic vein that runs through the piece,  Sokolov brought touches of individuality to his reading so indicating the artistic direction is which he is heading.

Enescu’s third violin sonata, ‘dans le caractère populaire roumain’,  along with much else of the composer’s output, has seen a resurgence in popularity with performers in recent years. The growing catalogue of available recordings has done something to raise awareness of the work amongst the public, yet it is arguably in live performance that its intricacy and technical mastery in the writing for both parts can be best appreciated. Alas, Valeriy Sokolov and Eric Ferrand N’Kaoua fell some way short of producing a memorable performance. Their problems began with a misunderstanding of Enescu’s intentions in the work : a situation echoed in Gerald Larner’s programme notes which would have you think that the work is almost entirely a sequence of rustic dances. This misconstruing was most clearly heard in the slow movement’s evocation of the night, taking carefully scored notation and interpreting it in a rather slipshod manner, which to me indicated that  the work had not been fully internalised as yet. Eric Ferrand N’Kaoua maintained a steadier tempo than on his recording with Gilles Apap, but still remained wanting in terms of presenting the of which often forms the all-important foil to the violin part. However given Sokolov’s age,  it might be a bit much to have expected anything more from him at this stage. He’d do well to persist with the work though and not be afraid to really explore the tonal nuances that Enescu calls for, the lack of which left his performance sounding rather bland.

Bartók’s piece Night time in Transylvania proved an atmospheric vignette in the aftermath of Enescu’s mighty sonata, still imbued with much atmosphere indicative of a nocturnal countryside scene.

Prokofiev’s second sonata began almost without a clear goal in mind as to what Sokolov and Ferrand N’Kaoua wanted to say about the piece; though eventually enough forward momentum was gathered to make the first movement moderato gel together winningly. The second movement scherzo picked up the pace, and with it a good deal of internal interest between the parts. At their best the two players are provocative, just not often or consistently enough in my view. The andante proved the point once more with loose ensemble, though thankfully the closing allegro con brio was bright toned and amply lyrical.

Evan Dickerson

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