Oregon Symphony violinist Greg Ewer gave a recital at the Old Church last night in honor of the 74th anniversary of the repeal of prohibition. As a way of signaling the importance of the date, Ewer brought a cooler full of tasty beverages for lucky audience members to imbibe during the performance.Lucky for those of us in the audience, the quality of the music making from the stage did not drive us to drink – only the celebration of the 21st Amendment demanded we partake. Ewer presented three major works in this beautifully played recital, featuring collaborators Cary Lewis on piano and OSO Associate principal hornist Joe Berger.
First came the Mozart Sonata in C major for piano and violin, K. 296. The Mozart sonatas are referred to as piano sonatas with violin, and for good reason. The keyboard parts were fleet and meaty, and deftly and sensitively handled by Lewis. Ewer played the oft-accompanying violin lines with a silvery tone, beautifully tapered phrases, and with a decidedly Classical approach (with less vibrato and more shaping of notes with the bow) as opposed to the often over-vibrated Romantic approach used by big name violinists.
Next, in the words of Monty Python’s Flying Circus, it was time for something completely different, in the form of the massive and gorgeous early Sonata in E-flat major, Op. 18 by Richard Strauss. This sonata presents the highest technical demands on the part of both the pianist and violinist, and for sensitive and limber leading and accompanying by both as well. Ewer and Lewis delivered, with a lithe and impassioned performance that never strayed into the realm of the overwrought or sentimental. I wish that this piece was more often found in the recital programs of the major soloists, but it appears that they are more in the hunt for pieces which show off their chops than for meaningful pieces that are a true duo partnership. Bravo to Ewer and Lewis for their exceptional partnership in this piece.
Last came the great Horn Trio in E-flat major, Op. 40 by Johannes Brahms. After some initial rocky intonation moments Ewer, Berger and Lewis played a wonderfully balanced and sensitive account of this score. Balance is hard to achieve when you mix wind and string instruments, especially with the power of the french horn, but Berger played with remarkable sensitivity and taste throughout, resulting in truly well-balanced duo passages between both the horn and violin and the horn and piano. The uncharacteristically emotional Adagio mesto was a high point of the evening, with the rollicking Finale living up to its con brio (with fire) designation. It was a great night of the highest level playing from three of Portland’s leading musicians.