In Boston's First Church, violinist Natasha Lipkina and pianist Ekaterina Derzhavina presented a recital titled "Fairy Tale Images in Romantic Music." Their program featured a diverse selection of works from Schubert's Sonata in A Minor D. 385 to Janacek’s Violin Sonata, Medtner’s Sonata No. 1 in B Minor, Dobrowen’s Fairy Tale Op. 16, and Schumann’s D Minor Sonata. Initially, Lipkina faced challenges with intonation and phrasing, but as the performance progressed, her artistry blossomed into brilliance.

Their interpretation of Medtner’s sonata reached heights comparable to legendary recordings by Oleg Kagan and Sviatoslav Richter. In Janacek’s work, they masterfully navigated its complex tempos, culminating in an emotionally charged finale. While their rendition of Schumann’s piece didn’t match the flawless beauty achieved by Julia Fischer and Jan Lisiecki, it showcased a unique Russian oratory style that resonated deeply with the audience, leading to a standing ovation and an enchanting encore.

From Struggles to Triumph: The Evolution of Lipkina's Performance

At the outset of the concert, Lipkina encountered significant hurdles, marked by sharp leaps and clashes against the piano accompaniment. Her initial approach lacked subtlety, resulting in harsh tones that overshadowed the intended harmony. However, this phase was temporary, reminiscent of seasoned violinists like Szigeti and Menuhin, who also required a warm-up period before unveiling their true artistry. As the concert advanced, Lipkina demonstrated remarkable adaptability and technical prowess.

Lipkina's journey from a promising student at Moscow’s Central Special School to an emerging virtuoso is fascinating. Despite early struggles, her collaboration with Derzhavina on Medtner’s Sonata transformed the narrative. This piece, admired by Rachmaninov and performed by illustrious musicians such as Benno Moiseiwitsch and David Oistrakh, became a platform for Lipkina to showcase her potential. Her interpretation rivaled Oleg Kagan’s recording with Richter, highlighting her ability to blend bravura brilliance with emotional depth. Additionally, their handling of Janacek’s Sonata revealed a profound understanding of its intricate tempo shifts, culminating in a majestic and touching conclusion.

A Unique Interpretation of Schumann’s D Minor Sonata

Comparisons inevitably arose when Lipkina and Derzhavina tackled Schumann’s D Minor Sonata just hours after Julia Fischer and Jan Lisiecki had performed it. While not reaching the same level of near-flawless beauty, their version offered a distinct perspective rooted in Russian musical traditions. The slow introduction, characterized by the violin’s recitative line punctuated by the piano, exuded majesty and expansiveness. Moreover, their interpretation echoed references to Bach’s D Minor Chaconne, which Schumann was familiar with through his compositions of piano accompaniments for Bach’s Partitas and Sonatas.

In the third movement, Lipkina and Derzhavina excelled in alternating between pizzicato violin strokes and brief piano responses, achieving a beauty comparable to Fischer and Lisiecki’s rendition. However, they opted for passionate excitement over perfect clarity in the finale, captivating the relatively small yet enthusiastic audience at First Church. To express gratitude, they delivered an exquisite transcription of “The Dance of the Blessed Spirits” from Gluck’s Orfeo and Euridice, leaving listeners spellbound. This encore encapsulated their artistic evolution throughout the evening, transforming initial skepticism into admiration for their unique interpretative skills.