Two of the finest of the younger generation of Hungarian instrumentalists – violinist Kristóf Baráti and pianist Gábor Farkas – were recently brought together at the Academy of Sciences as part of the current classical recital series, Starlet.
It is hard to image a more fitting and memorable location for such a recital. Like the program itself, the building symbolizes the fusion of the old and the new in a very remarkable way. The neo-classical architecture may draw heavily on the traditions of empire, but it also symbolizes the independence of spirit of Hungary from the mid 1860s onwards. In this wonderful interior, violinist Kristóf Baráti and pianist Gábor Farkas gave a program which embraced the rich vein of the Austro-German tradition and the newly assertive and distinctive Hungarian voice of the mid-twentieth century.
Firstly, though, we had a curiosity – the so-called F-A-E sonata by no fewer than three composers. The first movement is by Albert Dietrich, a composer who is these days largely forgotten. On the basis of this movement, one might be tempted to wonder why: it is substantial and well made. Schumann’s two contributions, the Romance and the Finale, were recycled into a later sonata while the Scherzo by Brahms disappeared without trace until Joachim, for whom it was composed, published it nearly 60 years later. Baráti and Farkas gave it a committed performance, which was by turns spirited and thoughtful. The Brahms scherzo fared especially well, but one is left wondering whether this kind of collaboration does justice to the gifts of any one composer. The Schubert C major Fantasy, D.934 is in an altogether different class. The logic of the musical architecture here is abundantly clear, while Schubert’s gift for melody is never subservient to the structure but sings joyfully through. The soloists were more than up to the task – truly thrilling stuff.
Perched somewhat perilously on the cusp of 19th century German romanticism and 20th century Hungarian music sits Dohnányi. Defiantly lyrical and tonal, his music can sometimes seem anachronistic, yet he was a wonderfully gifted composer and the recent revival of interest in his music is long overdue. His Op.21 Sonata is sheer delight and it drew a performance full of character and sensitivity. A decent recording is long overdue, and these would be just the right people to make it.
Finally, we had Bartók and that wonderful pair of Violin Rhapsodies from the late 1920s. This music sounds so spontaneous and natural that it is sometimes easy to forget how carefully and lovingly it was crafted, but that is as it should be. In a real sense, these works seem to encapsulate the spirit of a nation and a culture. How ironic that two fathers of a great tradition should end their days in exile on the other side of the planet.
Baráti, fine musician that he is, seemed to throw caution to the wind in the more vigorous passages and revel in the sheer virtuosity of it all. This was violin playing of the highest order and he was most effectively partnered by Farkas who did not put a finger wrong all evening and was far more than mere accompanist. This is a very fine duo indeed.
Upcoming: April 26th, 7:30 p.m.
Kristóf Baráti, István Várdai, Balázs Fülei and Kálmán Berkes.