CHRISTIAN TETZLAFF PLAYS BRAHMS

I just got back from a performance of Johannes Brahms' three sonatas for violin and piano played by Christian Tetzlaff and Lars Vogt. It was part of the Lincoln Center Great Performers' Virtuoso Recitals series, at Alice Tully Hall.

First, I should say that Brahms is not very high on my list of favorite composers. I find most of his work pleasant and pretty, but seldom exciting, even in the hands of the best musicians. Furthermore, I seldom go to solo recitals, accompanied by piano or not--I don't remember going to a violin recital since I was in college nearly 40 years ago (I subscribed to a four concert series of touring performers one year. One was a young violinist who had to struggle out on to the stage on crutches. I think his name was Perlman. I wonder whatever became of him.)

So this recital a) was quite unusual for me, and b) did not raise much in the way of expectations going in. I'm still trying to remember exactly why I bought tickets--most likely because my wife was particularly interested in it.

Anyhow, I went. My wife was coming from a class, so we arranged just to meet at the seats. Since I was by myself I decided to save a few bucks and take the bus, instead of a cab. Actually it was two buses, but the transfer worked well. I got there in plenty of time to check my coat--and found the same guy who usually checks coats across the street at Avery Fisher Hall. He said there was no performance there this evening.

I found my seat, in the third row way on the right. It would give me a good view of Tetzlaff--and the underside of the piano. My wife arrived with a few minutes to spare. The musicians eventually came on stage--without a warning to turn off cellphones. They both wore black business suits and black shirts. Tetzlaff added a burnt orange tie.

The first two sonatas were just what I expected--pleasant and pretty. Tetzlaff is a fine violinist to be sure, but sometimes he seemed a just tiny bit tentative, e.g. he sometimes delaying the tiniest bit in starting the vibrato for a note. With an orchestra playing behind him I'm sure I wouldn't have noticed, but with only the piano accompaniment (despite the names of the sonatas the piano was clearly subordinate in all three) it did stick out.

Intermission (a seemingly brief one) followed--I was glad the yummy new brownies offered in Avery Fisher Hall were available here, too. I saw one woman in a very nice black lace party dress with cute black and white pumps. Presumably she had attended whatever dinner they had had in the lobby preceding the recital. Then it was back to the seats for Sonata No. 3.

The third was much more to my liking--much more passionate than the first two, rather un-Brahms, in my opinion. It was rather short, and after three ovations they returned to the stage carrying more music for an encore. Tetzlaff announced it would be Antonín Dvorák's Sonatina, Opus 100. Unlike the Brahms works, this piece was a bit familiar to me. I think it might even have been more familiar to Tetzlaff also, because I heard no tentativeness here. It was my favorite part of the evening.