Maxim Vengerov, Violin and Polina Osentiskaya, Piano
Carnegie Hall, Thursday, October 20, 2022 8 PM Stern Auditorium / Perelman Stage
(Contributing writer Miles Zaud)
J. S. Bach – Violin Sonata in B minor
Beethoven – Violin Sonata in A major ‘Kreutzer’
Shostakovich (arr. Tsyganov) – Ten Preludes from Op.34
Tchaikovsky – Souvenir d’un lieu cher; Valse-Scherzo in C major
Maxim Vengerov is a household name in any musical household. His early success in the international competition circuit paved the path for a string of consistently golden recordings. Any fan of Russian composers will find these indispensable, especially his takes on the Shostakovich and Tchaikovsky violin concertos. It was not surprising that Carnegie Hall’s maximum capacity was tested last Saturday night.
The journey through Bach’s B minor violin sonata was an overwhelming awe of its mathematical beauty. Vengerov and his piano accompanist Polina Osentiskaya took the reins equally, while holding true to the precision of Bach’s writing. The Kreutzer sonata’s crispness previewed a glimpse of Vengerov’s virtuosity, providing a mini finale into the intermission.
The Russian-themed last half mirrored the structure of the first half. Trademark witty moments interleaved with bleak despair in Shostakovich’s 10 preludes, creating an emotional whirlwind. A particularly poignant moment was the last prelude; Vengerov’s warm tone in the lower register gave depth to wintry angst. After such existential contemplations, we were whisked back into the 19th century salon with a couple of curios by Tchaikovsky. Vengerov crooned the melodies with the colloquial directness of Frank Sinatra, along with an added measure of technical flair.
To top it off, two encores: an abbreviated snatch of the light-hearted Scherzo from Beethoven’s Spring Sonata, followed by an entrancing third movement of the Franck Violin Sonata that left the audience feeling warmed on a cool night.
