WESTMINSTER CONCERT SERIES, “Bach Unaccompanied Violin, Part II,” Vieve Gore Concert Hall, Westminster College, Jan. 30
Within the violin’s extensive repertoire, there are six works in particular that stand out as crowning masterpieces – the three sonatas and three partitas for unaccompanied violin by J.S. Bach. These don’t just represent the pinnacle of violin writing in the 18th century, but they’re also a fabulous summation of baroque technique as only Bach could create.
The six works aren’t heard too often in concert together but this season the Westminster Concert Series has done just that. With six violinists from the Utah Symphony to play them, the six works have been the highlight of the series. Divided into two concerts (the first was last November), the D minor and E major Partitas and the C major Sonata were played Monday in a captivating concert that featured Yuki MacQueen, David Porter and Stephanie Cathcart.
MacQueen opened the program with the Partita No. 2 in D minor. She gave a wonderfully articulated and expressive account. It was nuanced and captured the delicacy of the ornamentation, but also the robustness and vitality of the music. Her playing was also quite transparent; it allowed for the different lines to be clearly defined.
The D minor Partita ends with the glorious Chaconne, a movement that is as long as the preceding four movements together. It is an expansive piece of music into which Bach put everything he had and created a work of timeless beauty. MacQueen also put everything she has into it. This was a magnificently crafted reading in which her playing was bold, but also refined and lyrical and exquisitely expressive.
Porter followed with the Sonata in C major. His playing was a bit of a mixed bag. He put some fine virtuosic playing on display but he also seemed to be struggling early on. Porter was at his best in the concluding Allegro assai; his bravura playing was assertive yet fluid and wonderfully dexterous.
The opening Adagio was subdued and understated, but the fugue was at times disjointed and somewhat rough. The Largo, on the other hand, was expressive and lyrical.
Cathcart ended the concert with the Partita in E major. Her account was notable for her beautifully crafted phrases, her subtle shifts in dynamics and tempos and her articulate, clearly defined playing. The slow movements were delicately expressive, while the fast movements were vibrant and full of life.
Putting her interpretive talents on display here, Cathcart acquitted herself marvelously. And the enthusiasm she obviously feels for this work was palpable. The evening couldn’t have ended on a higher note.