On the evening of May 12, world-renowned violinist Pinxias Zuckerman appeared at the National Centre for the Performing Arts Concert Hall, performing with pianist Xie Wasner to support the 2024 NCPA May Music Festival. Zuckermann had previously left unforgettable concertos and ensemble performances on the stage of the Bolshoi Theatre, and in this solo debut, he presented three Beethoven violin sonatas, and showed his virtuosity with more than half a century of precipitation.
That evening, Zuckerman and his long-time collaborator pianist S. Wosner performed three Beethoven sonatas for violin. Beethoven's sonatas have always been the "touchstone" of the soloist, and Zuckermann's interpretation shows his signature personal color in addition to the maximum restoration of the work.
The concert began with Beethoven's Violin Sonata No. 1 in D major. This early masterpiece, composed in 1797, shows Beethoven's inheritance of the Viennese classical style. The whole work begins with a lively Allegro and ends with a cheerful rondo after a beautiful Andante. In this work, you can see the shadows of Mozart and Haydn, as well as the prototype of Beethoven's style. The balance and harmony between the violin and the piano show the sparks of the musicians colliding with each other. Another work in the first half is Beethoven's best-known Violin Sonata No. 5 "Spring" in F major. Zuckerman's opening theme is beautiful but not greasy and particularly fresh and clear, and his calm and rational temperament makes the pastoral atmosphere of the work more prominent, adding a quiet and intimate charm to the spring mood.
Photo by Wang Xiaojing
In the second half of the concert, the two artists performed Beethoven's Violin Sonata No. 7 in C minor. Composed in 1802, this sonata was born at a difficult time when Beethoven was suffering from illness and many difficulties, and thus gave birth to an astonishing vitality and musical energy. At this time, Beethoven's creation had entered a mature period, and more surging and deeper emotions were about to emerge in addition to the handy composition. Zuckerman's interpretation of this work is exquisite, with heaviness and brightness, humor and solemnity, tenderness and resistance jumping between fingertips and bowstrings. What is even more rare is Zuckerman's consistent sense of proportion, which allows the composer not to be overwhelmed by excessive emotional expression, but to bring his contradictions and thoughts closer to the audience's hearts in the performer's direct interpretation.
Throughout the concert, Zuckerman once again showed his charming demeanor and profound cultivation in his music, and the natural and simple treatment revealed the seriousness and study of a generation of string masters. The passion, depth and explosiveness hidden in the simplicity impressed the audience, and brought a profound sound to the May night that spanned hundreds of years.
In his more than 50-year career, Pinchas Zuckerman has won two Grammy Awards and received 21 Grammy nominations. The more than 100 records he has recorded are not only bestsellers on the classical music charts, but also a must-buy and treasure in the hearts of music fans. Zuckerman is known for his subtlety, and his playing always captivates with just the right amount of restraint. As a soloist, he is active in major music festivals and classical music venues, with which he has collaborated with numerous conductors and orchestras. Since 1995, Zuckerman has visited China many times to present a feast of strings for Chinese music fans.
Despite his early reputation in the music scene, Zuckerman continues to climb the ranks. On the day of the performance, Zuckerman was interviewed with pianist Shea Wossner. Zuckerman said, "The three identities of violinist, violist and conductor were slowly developed in my upbringing. For me, it's all about making music. After coming into contact with the viola, I often have the sound of the viola in my head when I play the violin. This understanding of the harmonious coexistence of music laid the foundation for my later role as a conductor. "I'm still in the process of climbing, practicing a little bit every day and going one step higher." If you reach the peak one day, then how to stay at the top is actually the hardest. This is a test of the artist's self-discipline. What I ask of myself is that I have to open the case every day. Like an athlete, go out of your way to connect with the basics. Learning, self-discipline, and continuous improvement are life itself. There is nothing else in my life but music. ”
Text/Beijing Youth Daily reporter Tian Wanting
Photo by Beijing Youth Daily reporter Li Na
Editor/Qiao Ying