Jennifer Koh

Times Union
By Joseph Dalton
January 15, 2018
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Beethoven brought to fresh light by Koh, Wosner at Union

New introduction and interludes cleverly frame three Opus 30 sonatas

The program book at Union College gave no name to the 75-minute flow of continuous music performed by violinist Jennifer Koh and pianist Shai Wosner on Sunday afternoon at Union College. But Koh's website bills the concert as Bridge to Beethoven. The event consisted of the three Violin Sonatas from Beethoven's Opus 30 performed with a new introduction and two interludes by composer Andrew Norman.

Putting aside the contemporary for a moment, the afternoon showcased early Beethoven, much of it on the scale and style of Mozart. Koh and Wosner performed beautifully together, offering a lean sound that was often consoling and always lovely. The Adagio in the first sonata, for example, was intimate and detailed and felt like a long letter home. One sometimes just wanted to curl up in the warmth and intimacy of their playing.

Music that came late in the Opus 30 No. 2 (performed last) pushed toward the more assertive and turbulent Beethoven we know best. Here Koh's bowing got heavy and her sound less neat and focused. So, too, Wosner left aside his polished elegance in favor of greater volume as short and explosive phrases drove the piece toward its conclusion.

Short and explosive phrases, with more dissonant harmonies, is how Norman began the afternoon. His "Bridge II" and "Bridge III" were sly and clever links between the sonatas. As for "Bridge I," it served as an introduction. But after hearing the finale of the last Beethoven Sonata, it became obvious that "Bridge I" could follow immediately after and lead us back to the top, with the whole recital repeating. We could have been there long into the evening!

Each bit of music from Norman only lasted about three minutes and none of it felt particularly intrusive. At the conclusion of the Opus 30 No. 1, it was impossible to know precisely where Beethoven left off and Norman began. By contrast, Opus 30 No. 3 ends with a series of grand chords after which Norman slipped in with hushed tones like echoes. Also, there were moments in the middle of each sonata that were foreshadowed by Norman's interjections.

Norman, you may recall, is a member of the Sleeping Giants composer collective that seems to be everywhere, messing with our sense of what's sacred and inviolate in classical music. Once again, the masterpieces survived just fine and only benefited from being experienced in fresh light.

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