On Tuesday, October 13, 2009, the « Association des amis de la musique de Monaco » held its back-to-school concert at the Théâtre des Variétés in Monaco, evocatively titled « Crescendo » and long chaired by Jean-Marc Bosquet. The program included Mozart’s Sonata in E-flat major, Beethoven’s Sonata No. 5 in F major op. 24 « Spring », and then in the second half, Brahms’s Sonata No. 1 in G major op. 78 and two pieces by Fritz Kreisler: his « Liebesleid » and the famous « Prelude & Allegro for violin ».
At the piano, Anaït Serekian, holder of a first prize from the National State Conservatory of Yerevan before continuing her studies at the Tchaikovsky Conservatory in Moscow. Currently dividing her career between performances in France and abroad, particularly in China, and teaching at the Lyon Conservatory, this soloist with her feline elegance offered a « rubato » style interpretation, filled with personalized nuances, of Mozart and Beethoven, particularly emphasizing a quasi-melancholic and very intimate inspiration in these classical works.
To accompany her, mostly in the background for the first three pieces, violinist Marie Jee-Hae Maes, former pupil of Gérard Poulet and Maurice Moulin at the National Superior Conservatory of Music in Paris before unanimously winning the 1st Grand Prize of Excellence in the Nérini competition, followed by studies under Zakhar Bron at the Musikhochschule in Cologne, Germany. More discreet in her interpretation of the classics, seeking the ultimate nuance at the cost of a somewhat too « piano » style and risking an imbalance in her accompaniment, the soloist, however, reveals the full extent of her artistry in the two pieces written by the modern Fritz Kreisler, an Austrian-born composer who became an American citizen in 1943: she wonderfully conveys the Viennese atmosphere of the « Schwärmerei » in her execution of « Liebesleid ». She then performs, more tersely at first, the difficult and extensive bow movements in the famous « Prelude & Allegro for violin », a piece created in the style of « Pugnani », named after an 18th-century Italian composer long credited with this work.
Nonetheless, in harmony with a motherly benevolence from Anaït Serekian towards her junior, the two soloists enchanted the « Crescendo » audience, receiving a warm ovation at the end of their performance.
https://www.crescendomc.com
