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Simon Callaghan proves the ideal partner, subtly weighting and detailing the music’s shifting harmonic and textural profiles

The Strad, Julian Haylock

Debussy’s Violin Sonata tantalisingly fuses stream-of-consciousness sensuality with structural and gestural Classical norms. Midori Komachi leans more towards the former, characterising the composer’s episodic asides with beguiling temporal flexibility and sonic allure. Simon Callaghan proves the ideal partner, subtly weighting and detailing the music’s shifting harmonic and textural profiles.

If Debussy’s Sonata can, in the wrong hands, appear structurally brittle, the shimmering languor of Delius’s Sonata no.3 can easily (if over-indulged) lose its expressive focus. Again, Komachi and Callaghan capture the music’s sound world unerringly – enhanced by the recording’s beguiling ambience – giving it sufficient room to breathe without saturating its emotional capacity. In an ideal world a slightly narrower or faster vibrato would have further improved the captivating, wistful quality of Komachi’s playing.

That said, she judges the sleek, neo-Classical lines of Ravel’s 1928 Sonata to perfection, balancing exquisitely its espressivo ‘cool’ and super-compressed nostalgic yearnings. If the modern tendency is to turn the central ‘Blues’ into a bitterly ironic statement à la Shostakovich, shattering any sense of familial connection with the opening movement, Komachi and Callaghan emphasise a sense of belonging by gently cushioning its harmonic astringencies and the finale’s moto perpetuo fury. Two Grieg songs expertly arranged by Émile Sauret end this fine recital in a radiant glow.

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04/08/2020