A new pairing of exceptional young musicians often ignites high expectations. However, the synergy required to elevate a performance beyond mere virtuosity cannot be taken for granted, as individual artistry and interpretative choices may not seamlessly align. If there were initial doubts about the pairing of violinist María Dueñas and pianist Alexander Malofeev, they were quickly dispelled in the intimate setting of Weill Recital Hall, where every subtle inflection of sound can be clearly perceived. The protagonists’ deep mutual understanding, along with their dynamic and rhythmic synchronisation, was consistently outstanding throughout the evening.
Between the lesser-known Karol Szymanowski and the over-familiar César Franck sonatas, they presented the US premiere of Gabriela Ortiz’ new work, De cuerda y madera (Of String and Wood), one of six pieces debuting during the composer’s season-long residency at Carnegie Hall. The “playful and eclectic” piece was conceived, according to the composer’s notes, at the request of Dueñas, who premiered Ortiz’ similarly titled violin concerto, Altar de Cuerda, a couple of years ago. The 13-minute composition consists of three segments played without a break. The middle one is calmer, highlighting the violin’s cantabile voice. In contrast, the two outer sections feature a ludic interplay between the two instruments that illustrates Ortiz’ penchant for integrating sounds and patterns reminiscent of Stravinsky, jazz and Afro-Caribbean folklore. Dueñas and Malofeev played this musical capriccio with great gusto.
The Spanish violinist began her Carnegie Hall recital debut with Szymanowski’s Sonata, an early work full of impetuosity yet quite distant from the introspective style that would characterise the composer’s mature oeuvre. Dueñas navigated the score with remarkable insight, transitioning seamlessly from dramatic bursts to delicate lyricism while maintaining a steady tempo and rarely yielding to rubato. She played with aplomb and decisiveness far beyond her years. In the tranquil Andantino, the violin’s long melodic lines of great purity were superbly balanced by a piano that was radiant at times, agitated at others. Malofeev also succeeded in allowing the violin to soar above the dense, orchestral-like piano texture in the first movement, all while showcasing his exquisite technique with dignified modesty.
Franck’s Violin Sonata in A major served as a clear model for Szymanowski, and the New York audience had the opportunity to experience this seminal work as the culmination of Tuesday night's recital. Truth be told, every great duo of the past has played and recorded this work, making comparisons – for better or worse – much easier. With her gorgeous sound – dense, warm and brilliant – and her immaculate technique, Dueñas is already at the top. She sculpted every musical sentence, continually shaping a myriad of nuances and effortlessly transitioning from bravura moments to whispers. Any emphasis on pyrotechnics was cast aside. The anguished theme of the Recitativo-Fantasia has seldom sounded so heartfelt. Malofeev took on more of an accompanist role, often stepping back into a score intended as a balanced collaboration between the two protagonists. At several key moments, a clear contrast emerged between Dueñas’ abandon in approaching each phrase and Malofeev’s tentativeness, as if he was uncertain whether to be more assertive.
There were three encores featuring Franz von Vecsey’s Valse Triste and arrangements of songs by Astor Piazzolla (Yo Soy María) and Debussy (Beau soir). Pleasing yet inconsequential, they were delivered with the same collaborative spirit as the rest of the evening's programme.
