Improvisational Threads Across Time and Cultures

(un)common threads

Ariana Kim, violin. Roger Moseley, fortepiano.

Shane Shanahan, percussion. Saffron Soul Records 519061 Total Time:  75:37 Recording:   ****/**** Performance: ****/****

Ariana Kim, who teaches at Cornell University, has put together an album that explores both classic violin literature and global styles with a touch of improvisation.  The album celebrates the sense of the latter with exploring some historical approaches to playing. 

The first half of the album features a violin sonata by Mozart and Beethoven, respectively.  Kim uses wound gut strings for her violin with Mosely playing on a fortepiano modeled after something available at the turn of the 18^th Century (the booklet says 19^th, but this must be a typo).  The tuning has also been slightly adjusted downward.  This provides one unique aspect to the two works here that set it apart from other recordings in that respect.  Mozart’s Bb Sonata, K. 454 was written in 1784 for the touring violinist Regina Strinasacchi.  “Written” in one sense, because the violin part was notated out, but Mozart did not have time to flesh out his accompaniment for the performance and so likely improvised much of what he played, later setting out on paper what may have transpired.  It is slightly fascinating to imagine how this must have been.  The work’s three movements certainly have nods to a sense of dialogue between solo and keyboard almost in the way an aria might be structured.  Beethoven’s Eb sonata, Op. 12, no. 3 was part of a set dedicated to Antonio Salieri composed in 1797.  Each of the sonatas have an unique character and the third tends toward heroic grandeur.  Here the keyboard is like an obbligato partner rising to a more prominent role with the violin.  One of Beethoven’s most gorgeous adagios is the centerpiece here with an equally fun rondo conclusion exploring segments of a theme. 

The sound of the instruments will immediately strike the listener as the Mozart gets underway.  There is a thinner sound at first as things get underway, but the ear quickly adjusts.  Kim makes the adjustments necessary to still bring out a lyrical lift to the music’s slower movements and the fortepiano’s somewhat thinner sound also does not overpower the solo.  A more partner-like quality of two equal voices thus becomes apparent.  There are some slight liberties of tempo which creates interpretive nuance.  The first movement’s allegro section has some delightful articulation especially that brings out some of the wit and charm of the music.  The shaping of the “Andante’s” melodic lines works well within the context of this performance which caps off with an equally wonderful reading of the “Allegretto”.  Harder accented downbow segments can be a bit harsher, or slightly distorted which adds to the effect of the gestures a bit in both works.  The Beethoven demands a bit more passage work from Moseley who rises well to the occasion with crisp articulation in the faster segments of the opening “Allegro con spirito”.  This is an excellent pairing where both performers are on the same page with articulations that are matched and handed off beautifully in the dialogue sections.  The lyrical aspects of Kim’s playing also come through better here where there is more room to shine.  She manages to coax a beautiful tone which is much needed in the central movement.  The final rondo is also a delight with great energy and forward motion.

Things take a shift to the more modern for the second part of this release.  Kim has included both traditional music and new works making for an interesting collection.  There are three traditional global pieces from a Carnatic, Indian raga, to music from Macedonia and Bulgaria.  Percussionist Shane Shanahan joins her for these pieces and his own work is then featured in three short pieces that blend global sounds with titles referencing contemporary cultural contexts.  Kim’s own “Migrating Home” provides a chance for her to explore sounds with a looping pedal as an added effect.

The album’s underlying theme of “improvisational” approaches to music old and new is an interesting one.  Readings of both the Mozart and Beethoven are faithful to the text and are not making huge leaps from convention.  Hearing the Beethoven on these “period” instruments is interesting as one always thinks of Beethoven trying to push on into the new, but it does give a sense of how the works may have been heard by people in a salon at the time.  To that point, the sound quality of the recording helps to create that perfect atmosphere and balance which warms the sound a bit of the fortepiano especially and imaged the violin central to the sound picture.   

There is plenty of competition here for the Classical-era works. Violin enthusiasts will want to check out the disc though to hear the way Kim has imagined these pieces within the instrumental period context.  It is also worth sticking around to hear the global music works which might be outside the purview of some listeners as well.  The pieces provide a fascinating window into other folk music and contemporary styles.  In essence, there is a hope here to bring together two different listening audiences who will need to be ready for the new or the old (though if we are truly honest, the folk pieces here all likely predate the Classical Era works).  The sequencing of the album’s second half also helps to provide good transitions from the folk works to the more contemporary pieces by Shanahan and Kim.