Beethoven: Violin Sonata No 1 in D, Op 12 No 1; Ravel: Tsigane, rapsodie de concert; Sarasate: Two Spanish Dances; Fauré: Violin Sonata No 1 in A, Op 13
Amalia Hall (violin) and John-Paul Muir (piano)
Amalia Hall (violin) and John-Paul Muir (piano)
Works by George Crumb, Boccherini, Halvorsen, Beethoven and Chopin
Mok-hyun Gibson-Lane (‘cello)
Vesa-Matti Leppanen (violin) / Catherine McKay (piano)
Central Baptist Church, Boulcott St., Wellington
Mok-hyun Gibson-Lane is currently based in Berlin, where she plays ‘cello as a contract musician with the Berlin Staatskapelle (whose musical director is Daniel Barenboim). She is also a member of the Stabrawa Ensemble Berlin, led by the Berlin Philharmonic concertmaster, Daniel Stabrawa. Recently she took time out from her European commitments to come back home to New Zealand for a visit, and give a recital in Wellington with pianist Catherine McKay and violinist Vesa-Matti Leppanen.
Moky, as she’s widely known, has studied with a number of eminent musicians, among them Lyn Harrell at Rice University in Texas, Alexander Ivaskin at Canterbury University and Rolf Gjelsten of the NZ String Quartet in Wellington. She has won numerous awards, among them the Alex Lindsay Memorial Award and the Barbara Finlayson Scholarship. A glance at her list of career achievements thus far would indicate that she’s certainly made the most of her opportunities; and her playing throughout this concert confirmed that she’s a highly gifted and totally committed musician.
Her recital programme, extending from Boccherini to George Crumb, and including a mixture of original ‘cello works and transcriptions for the instrument, indicated something of the range and scope of her interpretative sympathies. The opening work, a sonata for solo ’cello by Crumb widened my appreciation of a composer chiefly known for his iconic work “Ancient Voices of Children”. The sonata’s first movement, a Fantasia, used pizzicato and arco passages in the manner of a troubadour telling a story, the dialogue becoming more and more insistent and intense as the telling reached its climax. The second movement was a “theme and variations”, featuring episodes containing different moods and contrasts, most memorably some excitingly full-blooded pizzicati chords put next to delicately-spread figurations. Lastly, in the final Toccata Mok-hyun threw down the gauntlet at the beginning with strong and monumental double-stopping, which gave way to toccata-like figurations and a contrasting running triplet theme, played by the ‘cellist with terrific élan, before finishing the performance as it began, with a forthright,well-focused statement of serious intent.
For a long time the word I most readily associated with Luigi Boccherini was “minuet” – so the composer’s Sonata No.3 in G for ‘cello and continuo caused something of a surprise, albeit a pleasant one, and all the more so in Mok-Hyun’s and pianist Catherine McKay’s hands. The opening allegro militaire was a jolly jog-trot at the outset, with the minor key development section both sappy and mock-sombre, relieved by the players’ charming and stylish way with balancing both the music’s rhythmic and lyrical qualities. A limpid Largo followed, with Catherine McKay’s piano-playing artfully matching and mirroring the ‘cellist’s limpid textures; while the finale’s kind of “rocking-horse minuet” rhythms nicely enlivened things, the players both demonstrating that they knew the secret of generating momentum without resorting to excessive speed. Before the interval we were treated to something of a curiosity in both music and performance, Halvorsen’s impassioned meditation on Handel’s Harpsichord Suite No.7 in G minor – a Passacaglia Duo, no less, for violin and ‘cello, here brilliantly played by Mok-hyun and Vesa-Matti Leppanen (violin), bringing out both the piece’s fireworks and the more circumspect moods, the writing allowing the musicians to play satisfyingly into each others’ hands.
The second half featured music by Beethoven and Chopin, the first item being a particularly lovely and penetrative exploration by the former for ‘cello and piano of Mozart’s Bei Mannern, Welche Liebe Fuhlen duo from Die Zauberflöte. While Mok-hyun’s playing wasn’t entirely blemish-free in some of the more virtuosic moments, there was no doubting the stylish character and depth of feeling of her playing, both musicians relishing the contrasts of the variations as well as the dance-like conclusion to the work. Cellist and pianist were again a combination to be reckoned with in Chopin’s Introduction and Polonaise Brilliante Op.3 (wrongly labelled Op.8 in the programme), the opening’s big, lyrical flourishes from the piano answered with eloquent simplicity by the ‘cello, while the Polonaise itself was danced with a winning amalgam of rhythmic girth and lyrical expression, Mok-hyun risking all by fearlessly attacking the melismatic figurations that punctuated the ‘cello line, and Catherine McKay in turn providing the required rhythmic drive and pointed phrasing that helped give the performance its ardent romantic flavour.