Hlif Sigurjonsdottir, Violinist in Review
Hlif Sigurjonsdottir, Violinist in Review Merkin Concert Hall, New York NY January 15, 2011
Hlíf Sigurjóns
Violinist Hlif Sigurjonsdottir was born in Copenhagen and grew up in Iceland, where she began her musical studies at an early age. Going on to work with many eminent musicians in Europe, Canada and the United States, she credits her first teacher, Bjorn Olafsson, concertmaster of the Iceland Symphony Orchestra, and her last teacher, Gerald Beale of New York, with inspiring her to make a specialty of Bach’s solo sonatas and partitas, and with leaving a strong mark on her approach to them. At this concert, she performed the Sonatas No. 2 and 3 and the Partita No. 1, completing the cycle begun earlier in New York. She has also released a double CD of all six works.
Ms. Sigurjonsdottir’s Bach was a mixture of many styles, part baroque, part contemporary, part oriented to violinistic comfort and effect. Playing on a modern violin by Christophe Landon and with bows by Landon and Isaac Salchow, she produced a very small tone that never varied in color or intensity and only rarely in volume. Her intonation was excellent except in the high positions; her bowing technique was light and flexible, but she broke all chords upward, regardless of where the melody lay. She made no attempt to use the four strings of the violin to bring out Bach’s voice-leading, changing strings and positions for greatest technical convenience rather than contrapuntal clarity. Perhaps the performance’s most serious shortcoming was a lack of variety; there was hardly any difference of character or expression among these three very diverse works or their highly contrasting movements.
Today, the practice of performing from memory is ubiquitous, but, from a music-historical viewpoint, it is comparatively recent. (Toscanini, whose vision was very poor, introduced it to conducting with the dictum “Better to have the score in your head than your head in the score.”) Many soloists claim that not looking at the music is liberating, but it can also have the opposite effect. (Clifford Curzon, the great English pianist, decided to use the score for the Mozart concertos when he realized that many passages were so similar that he sometimes found himself playing the wrong one.) Bach’s works for solo violin are treacherous to memorize, and Ms. Sigurjonsdottir was ill-advised to attempt it. She got lost in the First Partita, but adroitly covered it up by going back to the beginning of the movement; finally, though, she had to have a stand and the music brought to the stage. In the formidable Fugue of the Third Sonata, however, her memory slip caused chaos: two stands were required to accommodate the music, which consisted of many single sheets so mixed up that a volunteer had to come to the stage from the audience to help put them in order and stay to act as page-turner. This added a charming touch of informality to the concert, but disrupted the Sonata. However, the rest of the performance was so much more confident and secure that one wished Ms. Sigurjonsdottir had used the score from the beginning.
The program included the premiere of the Prelude from a five-movement sonata written for her by Merrill Clark, entitled “The Sorceress.” A lively, propulsive piece, it is based on a repetitive figure of a major second using a drone-like open string. The composer was present to share the applause.
