Jolla Music Critique

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István Várdai and Julien Quentin performed at the Auditorium at Scripps Ranch in La Jolla. The La Jolla Music Society commissioned the performance as part of their Discovery Series. The stage, with hardwood floors and a geometric background, provided the appropriate backdrop for the grand piano and the mesmerizing cello. From the second row, the skill and expertise of the artists was evident. The audience member could sense the dedication and time the artists put into their work, and could viscerally feel the emotion encapsulated by each note and key. The recital opened with Johannes Brahms’ (1833-1897) Sonata for Cello and Piano in F Minor, Opus 99. Brahms, a German composer, composed the Romantic-style work in 1886. It features four movements: allegro vivace, adagio affettuoso, allegro passionate, and allegro molto (La Jolla Music Society). The work began with the lively and fast tempo of the allegro vivace. One musician would pause, allowing for the artistry of the other instrument to come to life. The movement ended with the counterpoint of the cello and piano. The second movement was dominated by the soft, melodic rhythms of the cello. The tempo was soft and the tone transcended into the minor scale. This section reminded me of an adagio in ballet class—a slow combination at the end of a class that demonstrates the soft …show more content…
Composed in 1967, the Modern work is characterized by its playful form. The piece was impressive to say the least; the program from the show best articulates the musical qualities of the piece. It reads, Humoresque is a “ . . . blistering perpetual motion that puts a cellist through a range of techniques . . . it requires rapid arpeggios, double stops, glissandos, and quick leaps across the finger board” (La Jolla Music Society). It was undoubtedly an impressive performance, however, I still remained more impressed by the earlier works in the

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