Rhapsody: 20th Century Violin Masterpieces – review by Athinorama

"A very interesting CD with works by Greek and foreign composers for violin and piano"

13th October 2023

Rhapsody: 20th Century Violin Masterpieces – review by Athinorama

"A very interesting CD with works by Greek and foreign composers for violin and piano"

13th October 2023

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Violinist Papamatthaiou-Matske was brought to mind by the acquaintance with the London-based Greek-Australian violinist Lisa Archontidi-Tsaldaraki. The young soloist – only 21 years old! – also comes from a family of musicians, she started her career as a soloist and member of orchestral ensembles, won prizes in international competitions, while last March a very interesting CD with works by Greek and foreign composers for violin and piano, accompanied on the piano by her father Panagiotis Archontides (released by Convivium Records).

This first disc also includes the Suite by Yannis Konstantinidis, but most importantly the first international recording of the technically difficult Sonata for violin and piano by Manolis Kalomiris, of which she gave the British premiere in 2022. Entitled Rhapsody: 20th Century Violin Masterpieces, the CD also includes Britten’s Suite, Szymanowski’s Nocturne and Tarantella and Ravel’s Tzigane.

Like Papamatthaiou-Matske, her young colleague offered a part of the album’s programme in her first ever performance in Greece – if we are not mistaken. This recital took place at the G. Marinos Hall of the Lilian Voudouris Music Library’s Multipurpose Hall of the Athens Music Hall last spring (19/5/23). The evening opened with Wieniawski’s short “Legende”, the rhapsodic character and melodic curves of which were beautifully highlighted by the violinist.

The recital ended with the great Milstein transcription of the posthumously published “Nocturne” by Chopin and Nocturne and Tarantella by Szymanowski. In the first of these, the fine melodic line and the full sound of the violin satisfied the listener; the second stood out for its careful phrasing, good technique and sufficient narration: the expressive nocturne was followed by an energetic, sparkling tarantella!

In between, the young soloist gave an excellent performance of Britten’s rarely played Suite, illuminating both the multi-stylistic influences and the mood changes inherent in this witty score, interspersed with writing which is technically challenging and flamboyant.

P. Archontides provided a wonderful, rhythmic background on the piano, who also joined forces with his daughter and wife, pianist Natalie Tsaldarakis (with whom they form the well-known Ivory Duo Piano Ensemble!), in the composition of Elena Pavlea’s The Praise/Salutation for voice, violin, and piano duet. Even if at times it felt less straightforward, the neo-romantic/cinematic work stood out for the writing and the special role it reserved for each instrument in the musical narrative and overall drama. The vocal part, which started with a recitation, developed into an arioso and ended with a climax in the high range, was perfectly interpreted by the mezzo-soprano Marissia Papalexiou.

Naturally, attention was drawn to the live performance of the 20-minute Sonata by Kalomiris (1948), the recording of which – as rightly pointed out by the music writer, researcher and archivist Thomas Tambakos, who introduced the event – had little if at all to envy from the only two other “domestic” recordings to date, those of well-known Tatsis Apostolidis and Stella Tsani (both one-time distinguished concert masters of the Athens State Orchestra).

Indisputably virtuosic, perpetually mobile, the violinist brought out the Wagnerian melodic references more fully than the Greek folkore ones, which she probably has less ‘lived-in’ experience with.
In any case, this very promising first appearance by Archontidi-Tsaldaraki has raised high expectations for her future.

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Violinist Papamatthaiou-Matske was brought to mind by the acquaintance with the London-based Greek-Australian violinist Lisa Archontidi-Tsaldaraki. The young soloist – only 21 years old! – also comes from a family of musicians, she started her career as a soloist and member of orchestral ensembles, won prizes in international competitions, while last March a very interesting CD with works by Greek and foreign composers for violin and piano, accompanied on the piano by her father Panagiotis Archontides (released by Convivium Records).

This first disc also includes the Suite by Yannis Konstantinidis, but most importantly the first international recording of the technically difficult Sonata for violin and piano by Manolis Kalomiris, of which she gave the British premiere in 2022. Entitled Rhapsody: 20th Century Violin Masterpieces, the CD also includes Britten’s Suite, Szymanowski’s Nocturne and Tarantella and Ravel’s Tzigane.

Like Papamatthaiou-Matske, her young colleague offered a part of the album’s programme in her first ever performance in Greece – if we are not mistaken. This recital took place at the G. Marinos Hall of the Lilian Voudouris Music Library’s Multipurpose Hall of the Athens Music Hall last spring (19/5/23). The evening opened with Wieniawski’s short “Legende”, the rhapsodic character and melodic curves of which were beautifully highlighted by the violinist.

The recital ended with the great Milstein transcription of the posthumously published “Nocturne” by Chopin and Nocturne and Tarantella by Szymanowski. In the first of these, the fine melodic line and the full sound of the violin satisfied the listener; the second stood out for its careful phrasing, good technique and sufficient narration: the expressive nocturne was followed by an energetic, sparkling tarantella!

In between, the young soloist gave an excellent performance of Britten’s rarely played Suite, illuminating both the multi-stylistic influences and the mood changes inherent in this witty score, interspersed with writing which is technically challenging and flamboyant.

P. Archontides provided a wonderful, rhythmic background on the piano, who also joined forces with his daughter and wife, pianist Natalie Tsaldarakis (with whom they form the well-known Ivory Duo Piano Ensemble!), in the composition of Elena Pavlea’s The Praise/Salutation for voice, violin, and piano duet. Even if at times it felt less straightforward, the neo-romantic/cinematic work stood out for the writing and the special role it reserved for each instrument in the musical narrative and overall drama. The vocal part, which started with a recitation, developed into an arioso and ended with a climax in the high range, was perfectly interpreted by the mezzo-soprano Marissia Papalexiou.

Naturally, attention was drawn to the live performance of the 20-minute Sonata by Kalomiris (1948), the recording of which – as rightly pointed out by the music writer, researcher and archivist Thomas Tambakos, who introduced the event – had little if at all to envy from the only two other “domestic” recordings to date, those of well-known Tatsis Apostolidis and Stella Tsani (both one-time distinguished concert masters of the Athens State Orchestra).

Indisputably virtuosic, perpetually mobile, the violinist brought out the Wagnerian melodic references more fully than the Greek folkore ones, which she probably has less ‘lived-in’ experience with.
In any case, this very promising first appearance by Archontidi-Tsaldaraki has raised high expectations for her future.

Review written by:

Review published in:

Other reviews by this author:

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