2 in G Major.
The recital began with the performance of one of the teenage violinist favorites, Jules Massenet's Mditation from Tha. The repertoire composed in the early 20th century evokes a feeling of distant nostalgia. Nicola's rendition was masterful, yet simplistic; keeping through to the composer's style and soaring melodies. Benedetti showed a temperament that belied her age, strumming note after note in a performance that captured her feelings both for the violin and the Massenet's composition.
The second performance of the night was Debussy: Sonata for violin and piano, L. 140. Original composed by the Frenchman Claude Debussy in 1917, the sonata is characteristically full of Debussy's sense of tonality and easily recognizable. Debussy was known to incorporate an orchestration using creative doublings, divisions and wordless choruses in his compositions. Benedetti's violin rendition of the rhapsodic Debussy's sonata featured some delightful free movement as she unbound herself easily with an irresistible momentum. The teen violinist impressed with a precise and intoned performance, showing a calm control of her emotions in the quiet moments and when the virtuosity of the piece required an upswing. The violin responded gloriously producing a golden melody that was both captivating as well as glass shattering.
The night reached a crescendo with Benedetti's rendition of the j...
Ravel's Sonata for violin and piano No. 2 in G Major was written in 1922 is full of influences from American 1920's jazz culture. Benedetti performance spoke of maturity, and a conviction that was pure delight. She stayed true to the jazzy feel with an impeccable strumming of the violin strings like a guitar; knowing when to lead and exactly when to accompany the rest of the orchestra. Her deft touches once again showed Benedetti's quick adaptation skills even to the up-tempo American jazz blues. Benedetti and her pianist Quentin performance and collaboration was comfortable and made a powerful statement in summing up the event.
The Concert Number 32 featuring violinist Nicola Benedetti and pianist Julien Quentin was a very successful concert, with both instrumentalists performing quite masterfully. Benedetti displayed an almost arrogant mastery of the violin in the Sonata's she performed, while the Quentin was mostly outshined by his teenage partner, he demonstrated a great sense of respect for the repertoires performed. Quentin influences on the whole concert were nonetheless diminished to allow for Benedetti solo incursions; recognizing that this was Benedetti's debut at the Boston's Gardner Museums. This became rather too obvious during Ravel's Sonata for violin and piano No. 2 in G Major, although the changes did not affect the almost 'perfect' rendition of the piece.
The Allegretto (standard tempo), Blues (moderato) and Perpetuum mobile (constantly in motion) styles incorporated into the concerts by Benedetti and Quentin although from different French composers produced an existing blend. The recitation of the sonatas' all of which were twentieth century showed how both musicians were able to