Originally intended as a celebration of Russian music, Reminiscences, the title of tonight’s concert, was inspired by the last interview given by Rachmaninov in Switzerland. We all know and love the music of Rachmaninov, but we know very little about the man, so tonight’s concert curated by Vasheruk, with the addition of friends and a narrator sharing anecdotes and literary context, sought to delve deeper into the life of the man and composer and to look closely at the works leading up to his flight from Russia in 1917 and those of some of his contemporaries.
Sofia Vasheruk opened with Rachmaninov’s Prelude Op. 3 No.2 in C Sharp Minor.
An understated, mysterious, and tense opening built gradually towards cascading scales and on to thunderous left hand octaves before disappearing again into the ether.
This theme continued as a purity, intensity, and darkness from the violin in the capable hands of Daniel Rowland characterized the Romance Op.6 written as a tribute to Rachmaninov’s sister Helena who had tragically died at the tender age of 18. Rowland varied the speed of his vibrato here for full dramatic effect. This short number gave a sneak preview of this wonderful and evolving partnership with Vasheruk. Understated and tender, Vocalise, Op. 34 No. 14 further allowed Rowland to show-off his storytelling skills as he found innumerable ways of playing the same phrase. Melodies high up the D string and shimmering trills abounded.
It was in the Piano Trio No.1 in G minor that this partnership really shone. Joined by the cellist, Alessandra Kaspera, the work began with a rustling from afar as the cello and then the violin paved the way for the first piano melody, underpinned by the most sumptuous harmony. This was a well-rehearsed, mature, intelligent, and impassioned interpretation – no gimmicks, just solid romanticism full of contrasts in dynamics, texture and colour. Changes of mood and tempo with cheeky piano motifs gave a brief respite from the rich texture before thundering ascending scales led to a wonderous climax, and a return to the whispers of the beginning.
Known to audiences throughout The Netherlands as Tatyana in the recent Nederlandse Reisopera production of Eugene Onegin, Anna Emelianova, the Russian soprano, was a commanding presence on stage, and built the tension beautifully in the Romance Op. 4 No. 4. The later Romance, ‘Au’ Op. 38 No.6 was much more operatic in style with the voice soaring over an oscillating piano accompaniment, delving ever lower. I look forward to hearing more from Emalianova when she reprises the role of Tatyana later in 2023.
Without a doubt, Vasheruk was the star of the evening as she moved seamlessly from the role of accompanist to soloist, and back again.
Fragments written in 1917, with its incredibly simple melody of just two notes, was a showcase for Vasheruk’s compelling melodic lines. This piece, an endless list of interconnected fragments, certainly earns its title, requiring much skill from the pianist to bring all the strands together. In the same vein, the beauty and simplicity of the right hand melody of The Storm from Etude Tableau Op. 39 No. 1, embodied understated emotion with its falling thirds and inner melody, while passagework swirled and whirled around.
Melodic lines continued to dominate, both in the third movement of the Cello Sonata Op. 19, again a melody with just two notes, and finally in Spring Water Op. 14 No.11 providing an immediate change of mood as Emelianova took to the stage again to soar and enchant the audience.
But the evening was not finished quite yet, for Andrey Nesterenko, Vasheruk’s husband, joined the stage to perform an arrangement of Gryaznov’s Italian Polka. Hands swapped places, pianists swapped places, and scales galore. We wanted more! A glorious end to the evening.
Reviewed at the Kleine Zaal, Muziekcentrum, Enschede on Friday 24th February, 2023
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Further Reading:
Hardenberger, Wallroth and the Amsterdam Sinfonietta ooze class
