Chen on Joachim’s Stradivarius Provided Visual Accompaniment to the Music

The audience was amply rewarded with a recital fashioned in the mold of those by the great 20th century violinists. The first selection was from the Baroque Era, the Devil’s Trill Violin Sonata by Tartini. This was followed by the major work, Beethoven’s Sonata in C Minor from the Romantic Period.

After intermission, Chen offered Bach’s Partita #3 for Unaccompanied Violin and three lighter works, La Ronde des Lutins by Bazzini, Dvorak’s Slavonic Dance No. 2 and Spain by Corea, where the violinist and pianist gave their improvisations on the theme from the slow movement of Joaquin Rodrigo’s Concierto de Aranjuez for Guitar and Orchestra. Corea used that melody for a jazz rendition, calling his piece, Spain.

Chen is an excellent violinist and Elizalde contributed outstanding keyboard collaboration. They offered informal commentary before each selection, projecting a feeling of intimacy with the audience which set this apart from formal recitals. In addition, Chen faced the audience as he played, rather than standing in profile. His handsome countenance reflected the spirit of the music. During light-hearted passages such as the trill section of the Tartini, the second theme of Beethoven’s first movement and the Gavotte of the Bach, his eyes brightened and his mouth widened into a smile. It was as if a mime were giving visual support to what we were hearing.

Chen’s ease of execution, his beautiful sound and his warm personality immediately endeared him to the audience with the Tartini Sonata.  Beethoven’s first movement opened with a somber theme, possibly reflective of the composer’s progressive deafness. The slow movement spun its contemplative melody in lovely contours and the Scherzo skipped along with humor. The finale, bold and triumphant, seemed to reflect Beethoven’s affirmation of life.

In the Prelude of the Bach Partita, Chen emphasized each section with contrasting dynamics, creating a compelling interpretation.  The other movements were also performed with conviction, although the Gavotte, which he infused with a comic twist, lacked its opening rhythmic momentum.

Of the shorter works that followed, the Bazzini, taken at break-neck speed, yet with  harmonics and left-hand pizzicato well-defined. Dvorak’s Slavonic Dance #2, arranged by the early 20th century Jewish-born violinist, Fritz Kreisler, received a warm, lilting reading. The printed offerings ended with Chen’s and Elizalde’s own arrangement of Chick Corea’s Spain. The jazzy rendition brought a cheering audience to its feet. The performers returned to the stage for three encores, an original Tango, Czardas by Monti and Estrellita by Ponce.

It was gratifying to see younger faces among the listeners, including a number of children, who were probably violin students.

Chen was born in 1989 in Taipai, Taiwan, where he began playing the violin at age four. The family then moved to Brisbane, Australia. There, at age eight, he soloed with the Queensland Philharmonic Orchestra and at 15, was admitted to the Curtis Institute in Philadelphia, where he studied with the great American-Jewish violinist, Aaron Rosand. During those years, he won first prize at the Yehudi Menuhin Competition in 2008 in Cardiff, Wales and first prize in the Queen Elizabeth Competition in Brussels, Belgium in 2009.  Throughout his illustrious career, he has been lent Stradivarius violins, including the Dolphin Stradivarius from 2019-22, an instrument played by the great 20th century Russian-Jewish violinist, Jascha Heifetz.

If you have not yet experienced the marvelous acoustics of the Baker-Baum Concert Hall at the Conrad, there are still a large number of concerts scheduled for this month including Russian-Israeli Pianist, Yefim Bronfman, on April 26 at 7:30 p.m., playing works by Schubert, Schumann and Tchaikovsky. Box Office: 858-459-3728.

*
Eileen Wingard is a freelance writer specializing in coverage of the arts.  She may be contacted via eileen.wingard@sdjewishworld.com