I learned that at Tanglewood, if an artist must miss a show due to an injury or other emergency, and they find replacements to fill in, that one must absolutely be there, in seats, especially if the replacements are making their Tanglewood debut. In the latest, August 21, where James Ehnes and Alessio Bax replaced Leonidas Kavakos and Daniil Trifinov, the debutantes brought joy to a packed Ozawa Hall and lawn.
On the program were Mozart’s Sonata No. 21 in E minor, K. 304; Brahms’ Sonata No. 1 in G, Op. 78; and Beethoven’s Sonata No. 9 in A, Op. 47, “Kreutzer.” It was interesting to note that before the music, James Ehnes let us in on how they chose the selections: He simply asked Alessio Bax what he is currently enjoying playing.
Mozart’s violin Sonata in E minor was written at a good time for the master, when he was enjoying Mannheim, Germany, and at the height of his powers. It is a piece that uniquely asks the piano to share the spotlight more evenly with the violin, a departure from previous piano and violin works of the period where the piano led. Gently, smoothly, carefully, the duo led into the piece, and with such care to tone and volume in the opening phrases, the piece floated, and caressed the full house of regulars in Ozawa Hall. It got better. While maintaining disciplined reserve, they occasionally injected more energy into the piece as they progressed through the Allegro and rolled out rich colors for all to bathe in. Into the Tempo di Menuetto, we never really felt pushed by the tempo, and the unhurried notes were easy listening to the extreme. It was a warm and cozy first course, one to build on.
Brahms also wrote his Violin Sonata No. 1 in G at a very good phase in his life. He was immersing himself in nature in lovely Portschachach and finding inspiration everywhere. It begins with a “Vivace, ma non troppo,” always a sublime test, which this duo really pulled off well. The “liveliness, but not too much” is a challenge, and again their disciplined reserve ruled. However, they let more emotion come into the music here, and the energy began rising. The second movement Adagio was representative of the meandering streams Brahms was enjoying, tumbling along with changes as nature dictated, rolling along fluidly. The Allegro molto moderato slowed down the journey again, before a pick up at the end with injection of the main theme from the second movement to create a full circle. The patrons were highly engaged as the intermission commenced.
Beethoven’s Violin Sonata No. 9 in A, “Kreutzer,” is a popular piece with loads of drama both in its strange origin and in the playing. Here the duo loosened their collars and further displayed virtuosi within the teamwork. Beethoven wrote a first movement Adagio sostenuto – Presto that allows a brief impassioned violin solo, followed by the piano’s answer, and they both charge gently ahead, flowing with, once again, disciplined reserve. Our duo’s pleasant and sensitive playing led them into the Andante con Variazioni, which gives greater freedom to each musician. They took full advantage while still holding back a little in reserve, building up momentum to the third movement Presto, launched as a voyage into the final joyful 6/8 tarantella, a lively Italian folk dance with various steps and modes. James Ehnes anchored the melody; Alessio Bax tempered emotion. It was the joy of the dance to the end. An instant standing ovation, and a nice encore of Ravel’s Violin Sonata No. 2 sealed the deal. This big-hearted duo was greatly appreciated by the patrons. We took that Joy home with us.
