Duo Heats Up Summer Night with Mozart & Beethoven

DUO HEATS UP SUMMER NIGHT WITH MOZART AND BEETHOVEN

They Catch Fire With Some "Barn Burners,” Too

by Paul Pattison

Special to KC Arts Beat

It was hot the evening of June 17th, but it was about to get a lot hotter as violinist Destiny Ann Mermagen and pianist Tatiana Tessman gave a sizzling performance at Village Presbyterian Church. Titled Mozart, “Beethoven and Barn Burners,” an audience of over 100 was treated to an evening of beautiful melodies, warm harmonies and technical fireworks. So many showed up for the concert that we were asked to share programs.

First up was Mozart’s Sonata No. 18 in G Major, K. 301. The opening movement began with ajoyous melody played on the violin. Mermagen produced a very bright sound for this amiable tune. Soon the roles were reversed and the piano took up the melody with violin accompaniment. Violin and piano traded the theme back and forth, engaging in a delightful dialogue. Both musicians were intimately aware of each other, employing well-timed rubatos and imbuing the work with an infectious playfulness.

The second movement, a rondo, continued the mood of the first. The rondo theme was given a cheerful, almost flirtatious realization. The sections between the repeated rondo theme were each given their own color, sometimes brooding while others were high-spirited. Tessman produced an airy, light touch on the piano which gave this movement a feeling of whimsy. The audience responded with enthusiastic applause.

Next up was Beethoven’s Sonata for Piano and Violin No. 8 in G Major, Op. 30 No. 3. Mermagen introduced this work by reminding us that Beethoven was going deaf, and it was at this period in his life that he finally accepted it. He even contemplated suicide. But this composition does not reflect agony or remorse.

A very sprite-like opening belied any dark feelings Beethoven might have felt. The performers infused this with head-bobbing enthusiasm. We were given a second opportunity to bob our heads as the repeat was taken. Thank you. Mermagen sometimes crouched down by Tessman in a playful exchange of rhythms and themes that was quite infectious. The development section featured a thrilling exchange of trills between violin and piano, perfectly executed and wonderful to hear.

The second movement, a minuet, was a little more subdued and played with emotional depth by both. A kind of motif of repeated notes was very effective in portraying a sense of longing. Added to that was a superb attention to pauses and an attentive exchange of themes.

The final movement, a rondo, was a raucous romp. It had the feel of a hoedown and I initially believed this was the barn burner of the evening. Rapid runs were deftly delivered by both performers and thematic material bandied back and forth. It became a mad dash to the finish and left me breathless. Well deserved cheers broke out at its conclusion.

After a brief pause to “catch her breath,” Mermagen and Tessman resumed with the actual Barn Burner portion of the evening, two movements from Vieuxtemps’ “Bouquet Amèricain,” a whimsical and technically challenging collection of American folksongs. Mermagen recently made a compete recording of the Vieuxtemps, the first time the entire work has been recorded.

"The Last Rose of Summer” is the fifth movement of “Bouquet” and is very introspective. Mermagen played it with a gentleness bordering on pathos, employing a rich, deep tone. Technical fireworks periodically erupted which were dashed off with ease and grace. The piano part was initially understated, minimalist in nature, then grew in intensity and complexity which Tessman handled with authority. This concluded with a series of extremely high notes that were absolutely striking and thrilling to hear.

Mermagen takes great interest in infusing the love of music-making into children. She complements this exemplary work by featuring a young musician at her concerts. This time it was eleven-year-old Chloe Caldwell playing the Irish folk tune “Garry Owen.” Mermagen quipped that this was a drinking song and perhaps inappropriate for an eleven-year-old to play. We all got a good chuckle from that.

Caldwell showed the audience a tone and pitch control that belied her three years of playing the violin. Her composure and intonation were laudable and her stage presence commendable. Mermagen accompanied her, first imitating a guitar, then providing harmonies. This was very charming.

The finale was very cleverly conceived. The audience would now hear that same Irish drinking song, “Garry Owen,” as Vieuxtemps’ rendition in “Bouquet Amèricaine.” And what fun this proved to be. From musically imitating someone swaying drunkenly to dazzling variations of the theme, this was a tour de force for both performers. The audience openly laughed frequently and smiles were everywhere in evidence. Loud applause and shouts were awarded by an encore.

Mermagen announced the title, but I couldn’t hear it. I remember hearing it frequently on variety shows in my youth, but hadn’t heard it in many years. It was a real crowd pleaser, featuring multiple uses of harmonics and other remarkable techniques. At one point, Mermagen walked into the audience and performed a wolf whistle on the violin to an audience member. The audience laughed with unabashed joy. More cheers followed when the piece came to an end.

Mermagen and Tessman have both garnered many awards in competitions, and performed with orchestras all over the world. Tessman has even performed with Rostropovich before an audience of 7,000. Both musicians displayed a deep admiration for the music while allowing a little merriment to sneak in on occasion. Their ability to play rapid passages in perfect sync and to infuse melodies with a depth of emotion was remarkable. I look forward to more collaborations between this two impressive musicians. Tessman is an assured and marvelous pianist. I would certainly enjoy hearing a solo performance.