Recital with Il Cannone 5th March 2006

Photos by kind permission of Sisi Burn, and copyright Sisi Burn 2006

Maxim Vengerov – Violin
Igor Levit – Piano

This was a much-anticipated event with Paganini’s violin getting a lot of hype and publicity beforehand as the closing event of the RAM’s “Paganini in London” series.

The violin was made in 1743 by Giuseppe Guarneri “del Gesu”. His violins have achieved fame partly because it was the violin of choice of Paganini, and the split between violinists who prefer a “del Gesu” to a “Strad” still exists today. Paganini’s bridge did not have the traditional heart shaped central cavity of modern bridges and it is suggested that this may have helped to bring out higher partials in the violin’s sound.

Maxim chose to play 3 pieces as programmed, Mozart Adagio K 261, followed by the only substantial piece in the programme, Beethoven Violin Sonata no 7 (opus 30 no 2), and to finish the only piece written by Paganini for violin and piano, Cantabile. There was an unspoken hope that he would play several encores, but in the event there was only one, La Campanella.

The fact that the whole recital was over in under an hour could be attributed to the lack of rehearsal time that Maxim had been able to have with both the violin and a new (for him) pianist, and the sheer fragility of the violin itself.

Although the tone of the violin was sweet and bright compared to the usual full-bodied sound we hear when Maxim plays, it did not carry and there was a lack of overtones to fill out the timbre of the sound produced. It was almost as if the notes were drawn from the violin only to fall to the floor rather then to sing out across the hall. Maybe this was due to the fragility and age of the violin and the fact that it is not regularly played. I’m sure in Paganini’s day it must have been able to deliver a lot more, otherwise why did he call it his “Cannon”?

Maxim seemed to be struggling to draw out any tone, and appeared to be battling against it rather than it working with him. It was an interesting rather then an inspiring event. However despite these difficulties, the recital was played with much feeling, by both players, particularly the Cantabile, which had an almost Viennese lilt to the interpretation.

A special mention must be made of Igor Levit who at only19 years old played with maturity beyond his years. He had developed a real sense of partnership and showed the sensitivity required of chamber musician.