It is a sobering commentary on local cultural attitudes that Salvatore Accardo draws relatively modest-sized audiences to his concerts while other violinists of lesser talents, but bigger names, play to packed houses.
Of course, part of the reason for the small turnout at Accardo`s recital Sunday night in Orchestra Hall was the miserable weather; even so, the vast expanse of empty seats was embarrassing. Once again the absentees were the losers, for the Italian violinist gave another demonstration of violin artistry at its most patrician.
In his playing are combined a deep musical understanding, an aristocratic style and a kind of intellectual probity that reminds one a bit of Joseph Szigeti in his prime. Accardo, of course, is a superb technician, but so faithfully in thrall to the subject matter does he keep his technique that the only thing to which it calls attention is the composer`s musical and expressive intent.
This time around, Accardo was matched with a pianist of comparable stature, Bruno Canino, and the result was a collaboration in which each artist spoke to the other`s particular musical sympathies and, indeed, enhanced them. In the concert world partnerships come and go, but rarely does one get to witness a marriage of true minds such as Accardo`s and Canino`s.
It is the mark of a sensitive pianist when he can keep the piano lid up without overpowering his colleague. In the Brahms G-Major Sonata, Op. 78, the brawny textures of the keyboard writing can create severe balance problems if the collaborators are not careful. But Canino was prepared to uphold his half of the musical dialogue clearly, tastefully yet assertively, avoiding thickness in the bass line while maintaining a seamless ebb and flow of melody.
For his part, Accardo opted for a thoughtful kind of romanticism, sweet of tone, warm of phrasing, devoid of sentimental indulgence. A slow movement of the most hushed introspection set the gently melancholic mood.
Their equally persuasive account of Faure`s A-Major Sonata proved that refinement need not preclude vitality, control need not deny spontaneity and precision need not obscure poetry. What a find this unfairly neglected piece becomes when played so beautifully and stylishly!
It was Canino`s piano that rightly took the dominant role in Mozart`s Sonata in B-flat, K.454, a reading of lithe classical proportions
distinguished by the violinist`s silken legato.
Webern`s gnomic Four Pieces, Op. 7, were sustained with the utmost concentration of expression; here is the serial obverse of romantic expansiveness.
From this antivirtuoso music the Accardo-Canino duo turned to one of the splashiest of 20th Century showpieces, Ravel`s ”Tzigane.” Both violinist and pianist resisted the temptation to vulgarize music that is a parody of Hungarian-gypsy-style exhibitionism. All the bravura fireworks ignited dazzlingly, yet never was the score`s French authorship in doubt; seldom has this reviewer heard any performers make more music out of this piece. It made a splendid conclusion to a wonderful (in the literal sense of full of wonders) recital.
