It’s been a long time since a violin-centered chamber music recording, owing to its compelling performers and intriguing repertoire, called out so demandingly from its package, “Play me! Play me!” Since the concertos of the 18th century, works (especially substantial ones) that feature two violins have been very rare, and the few that have been written, including those on this program, all from the 20th century, have been nearly neglected on recordings. You also could say that a “violin duo” is unheard-of (the dearth of repertoire being one reason–unlike for the piano, for instance), but that hasn’t stopped these two sisters, Angela and Jennifer Chun, who already have made quite an impression internationally, winning awards and dazzling audiences since graduating from Juilliard and debuting at Carnegie Hall.
Both the Martinu and Milhaud pieces are major, virtuoso works that demand equally from violinists and pianist. The Milhaud flirts with elements of the impressionism of Debussy and Ravel while asserting its own melodic voice(s), including a supportive but boldly independent role for the piano. And speaking of assertive, Martinu’s Sonatina pulls no punches regarding the violins’ presence; this is music that gives its performers great material–edgy, idiomatic, its fast movements relentlessly energetic–and calls on the players to run freely with it. It’s the kind of music that virtuoso performers love, and these three certainly revel in the many technical challenges while maintaining consistently taut, uniformly expressive ensemble.
Amid the Martinu and Milhaud, the three Shostakovich duets–“arrangements by Lev Atovmyan of excerpts from the composer’s works for stage and film”–seem extremely light and perhaps inconsequential, but at the same time they project a natural charm that proves especially appealing in this context, a pleasing foil to the studied, rigorous, tonally ambiguous, extended single-movement works by South Korean composer Isang Yun (1917-1995). Throughout, you are focused as much or more on the virtuosity of the playing as on the music itself, and yet we find ourselves grateful for the exposure given by the amazing Chuns and their piano partner Nelson Padgett to such appealing works from this barely-known genre. The sound is rightfully close and intimate, vibrant and room-filling. Highly recommended! [1/2/2008]
