Anthony Marwood & Aleksandar Madžar reviewed in the Sydney Morning Herald

Layers merge to perfection
Peter McCallum, Sydney Morning Herald
November 7, 2012

The heaving tumultuousness of the first movement of Beethoven’s Kreutzer Sonata, opus 47, sounded terrific on the foyer monitor, though no doubt would have been even better in the hall.

Unfortunately a greater power than I could contradict thwarted my intent to meet Musica Viva’s office-friendly starting hour of 7pm and provide more detail on this movement, along with Martian Snow by Gordon Kerry, whose String Quintet made a universally positive impression at Musica Viva’s last concert.

In the second movement of the Kreutzer, Beethoven arguably made the mistake he avoided in the Waldstein Sonata – written the following year – of over-extending the central movement. But Marwood and Madzar drew the listener into this expansive set of variations with a ravishing sound and cogent, expressive elasticity.

The finale is sometimes criticised for failing to match the expectations of the first movement. Here, the players balanced by attacking it with energy so that its skipping rhythm sounded unbridled rather than light.

Marwood’s violin playing combines richness and clarity, precision and swirling movement. At the piano, Madzar is discreet, with a clear conception of the colour and texture he aims to conjure.

In Debussy’s Violin Sonata, they conveyed the work’s essence with sophisticated musicality, capturing brief and exquisite expressive ideas only for a moment, never dwelling or striving to bind them.

They concluded with Schubert’s Fantasie in C major, D 934, which in their hands became one of those endless Schubertian harmonic journeys in which the passage of time yields to the endless, gentle flow of inspiration.


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