Mannes Chamber Music: Schnittke, Mozart, Brahms and Debussy

Yesterday evening's chamber recital was the last in this particular series at Mannes.  It contained a wide range of musical styles from the classical to late twentieth century that blended very well together.

The first piece was the Violin Sonata No. 3 (1994) by Alfred Schnittke.  It was written late in the composer's career after he had begun suffering from the serious medical problems that would end his life only four years later in 1998.  During this period he largely gave up the experimental polystylism in which he had tried to combine serious and light music and developed in its place a more serious technique that better reflected his bleak prognosis. This melancholy piece was music composed by a man awaiting his own death.  As I'd previously known Schnittke through such lighter works as Moz-Art a la Mozart, hearing it was a disturbing experience.

Mozart's Sonata for Two Pianos in D, K. 448 (1781) was written as a showpiece which would allow the composer to display his virtuosity at the keyboard in a joint performance with Josephine von Aurnhammer.  One of Mozart's few compositions for two pianos, it was a radiant, elegantly written piece that was clearly meant to dazzle the audience.  The work is best known nowadays for its use in a scientific experiment designed to test the positive effects listening to classical music has on the brain.

Brahms' Cello Sonata No 1 in E minor, Op. 38 (1865) was actually entitled Sonate für Klavier und Violoncello in order to emphasize the importance Brahms placed on the piano part.  The first two movements were composed three years before the last, a fugue that pays homage to Bach.  In addition, the composer deleted the adagio before the work's publication so that sonata lacks the traditional slow movement, giving the piece a somewhat unwieldy structure.  It was exceptionally well played here by Zexun Shen on cello and Kyle Walker on piano.

The program ended with Debussy's Sonata for Flute, Viola and Harp.  This was the third time I've heard this piece performed this season alone, a strange circumstance considering the unusual combination of instruments for which it was written.  On the first occasion, it was played at Juilliard by an impressive ensemble consisting of Carol Wincenc, Nancy Allen and Cynthia Phelps.  I thought the Mannes students held their own very well last evening against such august company.