What a difference a day makes. On 28th April, Perth Concert Hall was packed with opera lovers coming out in droves to see the spectacle that was Ellen Kent’s Madama Butterfly. A night later, there were hardly more than fifty people in the audience to listen to violinist Johan Dalene and pianist Jeneba Kanneh-Mason. There was much speculation among those around me as to why so few people had turned out to hear these two young virtuosos. No one had an answer.
Suffice to say, I’d had a not dissimilar experience when Sir Stephen Hough played in Perth last year and then played to an almost full Usher Hall earlier this month. Perhaps they just get too many amazing performers at the Concert Hall in Perth? Whatever the reason, those who did not attend last night missed an absolute masterclass. I’ve rarely heard the violin played so beautifully and sensitively—and yes, I have heard Benedetti, who is fabulous too. I have also rarely seen two musicians playing with such exquisite unity and connection. I’ve heard Kanneh-Mason play here in Perth before—she’s astonishing and so sympatico.
Whatever the reason, those who did not attend last night missed an absolute masterclass. I’ve rarely heard the violin played so beautifully and sensitively—and yes, I have heard Benedetti…
The concert hall has wonderful acoustics and lends itself to large productions and soloists alike. In this case, there was the Steinway grand on the stage, alone in all its glory until the musicians appeared. Dalene carried his violin out with him and that was that. No bells, no whistles, just sublime music. They had equal billing—and rightly so—though Dalene stood to Kanneh-Mason’s right, somewhat putting her into the background. But, with very few exceptions, they played together the whole evening, one as important as the other.
A Diverse Programme: From Beethoven to Messiaen
The programme, of course, had to play to both of their strengths, and it was a tremendous run through composers from Beethoven to Messiaen, giving both violin and piano a lot to say. Dalene’s violin was, however, both physically and metaphorically front of stage, not surprisingly, when the pieces were mainly either violin sonatas or, initially at least, led by the violin. The programme started with Kreisler and finished with Grieg, with Amanda Röntgen-Maier and Clara Schumann in between. Harry Haskell’s programme notes—available for all free of charge—are brilliant, accessible and made me want to know more about the lesser-known composers.
My favourite was the Messiaen ‘Theme and Variations’, composed as a wedding present for his first wife, violinist and composer Claire Delbos, in 1932 (thank you, Mr Haskell). This is one of the pieces in which the piano takes charge to begin with, before violin and piano proceed to play as equals. It’s a much more modern-sounding piece than the others in this concert, full of sensuous beauty and sublime tenderness, with sweeping violin accompanied by piano chords. I loved it.
The programme, of course, had to play to both of their strengths, and it was a tremendous run through composers from Beethoven to Messiaen, giving both violin and piano a lot to say.
As for the performers themselves, Kanneh-Mason is just 23 and Dalene 25. They are phenomenal, no matter their age, attested to by the number of awards and accolades they have garnered between them already. Dalene is intense, entirely absorbed in the music, and his body sways with the music he is playing.
Kanneh-Mason is slightly more static, letting her fingers do the work, and yet she is equally focused and serious. She sits still on her stool, straight-backed and poised. Dalene moves sinuously, as one with his violin. Neither is showy, just totally dedicated to their music-making, and I loved this total absorption.
My advice—and plea—is to give the young ones a chance. Don’t just wait for the established big names to appear, wonderful as they are. These up-and-coming talents should not be missed.
Featured Image: Johan Dalene and Jeneba Kanneh-Mason – Perth Theatre
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