Elizabeth Wall Fisch - Violinist

July 20th, 2010

Article By IPA Member: Lynwood F Bronson
Penninsula Reviews

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Last night’s event was a powerful and bittersweet concert for many of Elizabeth Wallfisch’s friends and fans who have admired her artistry in the Carmel Bach Festival during the past 18 years. This concert was in a sense her swan song, and a summing up of her artistic heritage which will continue into the future, long after her departure from the Festival. It was also a tribute of gracious thanks to her colleagues and loyal supportive friends.

Joining her on stage for this concert were members of the Festival Orchestra ¯ violinists: Cynthia Roberts, Cristina Zacharias, Canfield Cole, Catherine Emes, Edwin Huizinga and Alice Yang; violists: Patrick Jordan and Meg Eldridge; cellists: Allen Whear and Margaret Jordan-Gay; and finally Yuko Tanaka on harpsichord, Derek Weller on double bass and Daniel Swenberg on theorbo.

The three major works on the program were by Bach: the Sonata for Solo Violin in A Minor, BWV 1003, the Concerto for two Violins in D Minor, BWV 1043 and the Partita No. 2 for Solo Violin in D Minor, BWV 1004. These were sandwiched in with major works by Telemann, (the Overture in D Major, TWV55:D14) and Locatelli (the Concerto for Violin & Strings in D Major, Op. 3, No. 1 from violino).

Although some in the audience may consider Telemann and Locatelli minor composers in the shadow of Johann Sebastian Bach, Ms. Wallfisch would have us believe otherwise, and for this she made a strong case. She and the ensemble found much vitality, charm and intensity in the works of these two composers. Although the Telemann was long (approximately 25 minutes) and the Locatelli was an endless succession of dominant-to-tonic sequential progressions, Wallfisch and the ensemble found the right combination of 18th century grace, charm and virtuosity that made the performances a significant success.

However, it was in the works by Bach that we heard the true measure of Wallfisch’s artistry. Beyond the dazzling performance of the Concerto for Two Violins (with Cynthia Roberts) that really knocked our socks off, it was the two works for unaccompanied violin on the program that more nearly plumbed the depth of Bach’s greatness. For without the right performer to interpret them, these scores are merely cryptic symbols on a page that in the wrong hands can be a dry academic exercise in pedantry.

Throughout the two works for solo violin Wallfisch kept finding new ways to vary dynamics and the shaping of phrases (and rhythmic patterns) to constantly focus our attention on details we might otherwise have missed. However, it was during the Chaconne of the D Minor Partita, that we heard the most powerful music making of the evening. This all by itself is a great work and overshadows the other sections of the Partita. This Chaconne inspired Ferruccio Busoni, Alexander Siloti and Johannes Brahms to create powerful transcriptions. We can imagine how Berlioz might have created a transcription for double orchestra, military band, fireman’s chorus and conducted with a drawn saber ¯ had he been so inclined.

In any event, the Chaconne stretches the resources of the solo violin, and it is this challenge (plus the glorious music itself) that has fascinated musicians for over 200 years. Wallfisch succeeded in holding our attention firmly in her grasp during the almost 15 minutes of this work with a powerful intensity and profound feelings. What can one say except, “Bravo!”

End