Concert review: Leila Josefowicz (violin) John Novacek (piano

Leila Josefowicz’s recital with her regular duo partner John Novacek was both resonantly and thoughtfully programmed. First came two otherworldly creations sounding largely removed from their First World War context: Debussy’s Violin Sonata, and the French-accented Myths op.30 written by Polish–Ukrainian Szymanowski for his violinist friend Pavel Kochański. Next was Charlotte Bray’s brand new Wigmore Hall-commissioned Mriya (Ukrainian for ‘dreams’), its four movements inspired by Ukraine’s current wartime courage, featuring dreamy soundscapes of its own, but also darker, more jagged and threatening music. A happier vision of Russia rounded things off: Stravinsky’s Tchaikovsky-breathed Divertimento from The Fairy’s Kiss, created for his own Polish violinist friend, Samuel Dushkin.

The performances in the barely-half-filled hall hit the mark less squarely. To the Debussy, Josefowicz brought physical power, excited mannerisms and uncomfortable intonation and tone. The Szymanowski took this sound world slightly better. The Bray had impact. The Stravinsky felt more like Josefowicz’s music, its folky virtuosities infectiously carefree and nonclassical, merrily echoed by Novacek. Their madcap coda was met with an appreciative cheer, ending this slightly curious evening on an up-beat.

CHARLOTTE GARDNER