The violin of Yossif Ivanov and the piano of Philippe Ivanov in perfect harmony at Beirut Chants. (Credit: Beirut Chants)
At the Beirut Chants festival, the Saint Maron Monastery in Gemmayzeh once again welcomed two acclaimed guests: violinist Yossif Ivanov and his brother, pianist Philippe Ivanov.
Trained respectively under masters such as Zakhar Bron, Igor Oistrakh, Augustin Dumay and Daniel Blumenthal, they perform together on major international stages from Carnegie Hall to Wigmore Hall, forming a duo whose chemistry and precision are acclaimed worldwide.
(Yossif) Ivanov, several times honored with a Diapason d’or, now plays a precious Carlo Tononi violin from 1710.
According to legend, kept alive by the popular imagination, the "Devil’s Trill of the Sonata in G minor" was inspired to Giuseppe Tartini (1692–1770) during a night when he saw the devil at the foot of his bed playing those famous trills.
The performance was flawless here, demanding exquisite fingerwork from the violinist. Some violinists play it like a prayer, others as a battle, or even as a funeral dance.
Gabriel Faureh’s "1st Sonata for Violin and Piano" from 1875 brims with fiery energy between our two performers.
They capture all the passionate vehemence of the allegro, the — for their time — audacious key changes in the scherzo, the maturity of the andante, and the vigorous rhythm of the finale.
The presence of artists from outside the French tradition brings a breath of fresh air to this bold interpretation. The music is vitalized, its force restored, the concentration of Fauré’s thought and lyricism on full display, no longer something confidential. The Andante was a sublime moment.
In Beethoven’s "7th Sonata for Violin and Piano," the understanding between these two individualities is exemplary; they know how to blend, how to step back before the work in an interpretation of stripped-down art and remarkable coherence.
This sonata gains unusual relief thanks to the brio provided by rhythmic precision, biting dynamism, and keenly vigorous accents. This rigor does not preclude charm, musicality, or deep contemplation. Joy and relaxation find new momentum in this inspired performance.
Ravel composed "Tzigane" in April 1924, originally for violin and piano or lutheal (an instrument reminiscent of the cimbalom and the harpsichord). Feared by violinists, this piece tests every technical possibility of the soloist: pizzicatos, glissandos, double stops, and other virtuosic traps.
By turns beguiling and abrasive, our violinist concludes the recital with his pianist partner in a broad and tempestuous finale, allowing the solo instrument to unleash its full gypsy furia. One regret: the piano often overpowered the sound of the violin.
