Klimov and Tozer

Press, 11 September 1987, Page 4

Klimov and Tozer

Valery Klimov (violin) and Geoffrey Tozer (piano) at the James Hay Theatre, September 10, 8.15 p.m. Reviewed by Paul Goodson.

The plentitude of top rank violinists performing internationally today is matched by a wide-rang-ing diversity of approaches and styles. At this level, unerring technical brilliance is assumed. When coupled with humility and a piercing yet sensitive musical intelligence, the results can be awesome.

Valery Klimov bears all the hallmarks of greatness. His recital displayed not only a flawless technique but an ability to negotiate kaleidoscopic shifts in colour, tone, and timbre in all registers. The opening Beethoven Sonata No. 8 was the least satisfactory item. One was left in no doubt that this work is a duo, both players carrying equal expressive authority. But its witty accessibility and piquancy were compromised ’ by unnecessarily pesante piano tone. The complex counterpoint of thjfe opening movement, nA at times clouded, arf?

the Haydnesque, perpetuum mobile finale lost some delicacy through the breath-taking speed adopted.

Brahms’ D minor sonata fared better. Both players were attuned to the vehement sweeping phrases of the opening movement; the profound Adagio and elusive Scherzo were crowned by a dramatic and impetuous finale. Klimov’s burnished tone in the lower register was well suited to this dark-toned, densely packed score.

The second half comprised five display pieces, by no means insubstantial but lacking in the formal stability and continuity which repositioning of the Brahms sonata here would have provided. Whether characterising the idiomatic Spanish rhythms of Saint-Saens’ “Introduction and Rondo Capricciosa,” the skittishness of Tchaikovsky’s “Valse Scherzo” or the sparkling coloratura of Szymanowski’s “Arethusa’s Spring,” Klimov was superb. The con sordini passage at the close of “Arethusa” was beautifully touched, and

here, as in all this highly evocative writing, both artists were in complete accord.

Sarasate’s “Zigeunerweisen,” perhaps the locus classicus of the virtuoso gypsy style, provided a brilliant climax to the group. The fingerboard pyrotechnics were tossed off effortlessly, and both improvisatory melodic fragments and terser statements were given full expressive point The infectious gaiety of these elemental excursions was carried over into the encores: An arrangement of a Chopin nocturne, a solo Paganini caprice, an ethereal “Claire de Lune” and a fiery Brahms “Hungarian Dance.”

It is a pity to have to draw attention to unacceptable programme notes in a recital of this calibre. As well as introducing tangential material and providing no commentary on the second half of the programme, large sections of analytical . and biographical material were transposed. Fortunately these lacunae did not detract from somey; stunning and memorable performances.