Sometimes accompanying, sometimes competing

Susanna and Petra Morper, daughter and mother, are in perfect harmony.

The violinist and the pianist have now impressively demonstrated this.

Dachau / Erdweg - It was nice!

Listen, enjoy furious sounds and gentle melodies, sit back and relax.

The small concert (recital) with the violinist Susanna Morper and the pianist Petra Morper in the Ludwig-Thoma-Haus was balm for the soul.

But it was also exciting: How do the strings of the violin and the strings of the concert grand get along?

To say it in advance: They complemented each other perfectly, becoming more and more harmonious as the evening progressed.

It was also a great family intergenerational interaction between daughter Susanna and mother Petra. Both are award-winning and successful musicians from Erdweg. The informative program booklet states that what matters is not just what is written in the notes. “The actual sound art arises rather from the individual design and from what happens between the performers.” And that was an audible symbiosis in the selected pieces, in the sense of mutually complementary benefits.

In the violin sonata No. 4 in A minor, op. 23 by Ludwig van Beethoven, the piano and violin sometimes accompany each other or they support each other in the development of the theme. The powerful part is not only taken over by the piano. With full double lines at the end of the first movement, the presto, the violin makes its claim to leadership just as clear. In the Andante scherzoso più Allegretto they enter into a cautious dialogue. The violin tones sound soft, plaintive, wistful. The piano answers confidently.

In the third movement of the sonata, the violin asserts itself with its pearly sounds in the high registers.

In Violin Sonata No. 1 in A major, Op. 13, Gabriel Fauré merges the two instruments, sometimes lively and cheerful, sometimes dark and sad.

They mutually increase to top performance and impress with their dynamism.

With these two sonatas the applause sets in somewhat hesitantly: Was that the final measure or ...?

In the third contribution of the concert, the Polonaise de concert in D major, op. 4 by the Polish composer Henri Wieniawski, this is no longer a question: the last chord is a brilliant conclusion, and the applause sets in immediately, including shouts of bravo.

This work is also called "Polonaise brillante".

And it truly is, played just as brilliantly by Susanna Morper.

The violin clearly plays first fiddle here.

Technically highly virtuosic and musically impressive, Petra Morper and Susanna Morper presented the Violin Sonata No. 2 in D major, op. 94 a by Sergej Prokofiev.

It is said that this work is a notorious challenge for every violinist because of its “technical and athletic pitfalls”.

It was originally written as a flute sonata.

At the urging of the violinist Igor Oistrakh, Prokofiev arranged it for the violin, thank him for that.

So the audience could enjoy a delightful, dramatic but also lyrical interplay between the two instruments.

The applause was intense and warm, shouldn't an encore be possible?

That was it: Jenö Takasc's “Paprika Jancsi” (in German: Kasperl) came across as funny and tangy.

The second encore was a minuet in G major by Ludwig van Beethoven, which had a soothing effect on the audience and ended the evening wonderfully.

It was good.

Due to popular demand, the concert will be repeated on Friday, June 18, at 8 p.m.

Admission is free, donations are welcome.

Registration at: violine.recital@gmail.com.

Elfriede Peil