In the midst of cultural hell, once every two or three years Little
Rock is blessed with an event promising superb musicianship and unfailing
fulfillment.  Last year Janos Starker visited these country swamps, and
this year for the Symphony Benefit, Midori and Robert McDonald gave a
recital.  The tickets were not inexpensive for the area ($35 - 50), but
the money was for a just cause.  The acoustic nightmare, Robinson Hall,
was just over half full - but bristling with anticipation.

I don't usually bother following the early careers of 'wunderkind', and
know very little about Midori.  Aside from Kissin, I can't recall the last
time I purchased a recording of a child prodigy.  I was both surprised and
amazed by Midori's recital.  Midori and McDonald were beautifully attired,
and opened their recital with Mozarts Violin Sonata in A major K526.
Immediately her musicianship and tonal lustre were evident, as she lovingly
phrased and whispered her way through the work.  Their Mozart was pristine
and porcelin - fine.  McDonald was a world class accompianist, gracefully
following her every move.  They managed to maintain their concentration,
despite the distraction of the Little Rock audience who thought applauding
after every movement was the proper show of appreciation.  (Does this
happen ANY where else???) Their years of working together was self evident.
But as they savaged their way through Corigliano's rambunctious Violin
Sonata, I soon realized that the acoustics of the hall were not to blame
totally for Midori's small sound.

The second half of the concert was comprised of Brahms first Violin
Sonata in G.  Here the duo played the first movement much slower than
I was accustomed to hearing, but did so reverentially and with such deep
emotion and without over-romanticizing.  The audience was rapturously quiet
(aside from the applause after the first movement, ugh!) and enthralled.
They brought out the austere sadness of the work like no other duo I have
heard.  They followed with a short Pastorale by Stravinsky, and closed with
Ravel's Tzigane.  Here Midori opened the rafters a bit more in terms of her
volume, but still never produced a convincing "big" sound.  She made the
piece sound as though she was masterfully improvising on the spot, the
technical impediments passed over like rudimentary school work.

They received a well deserved standing ovation, and were as gracious
backstage as they were onstage.  Midori was especially attentive to the
children and young music students.  She told me that they do not have plans
to record the Corigliano Sonata in the future, but I vigorously encouraged
them to do so.  In all, a glorious evening enjoyed by all.  I do wonder
though, how does Ms.  Midori perform the romantic concerto repertoire when
she plays so quietly?

JPrevite
[log in to unmask]