Even among Symphony Hall's appreciative audiences I have rarely heard any concentrating as intensely as for the wonderfully engrossing recital offered here by veteran violinist Pinchas Zukerman.
The secret lay in his platformmanner, unflamboyant, selfcontained (what an example to flashier world stars), barely encouraging applause but instead presenting himself as a vessel through which the music could flow.
This self-effacement brought negative dividends in the opening item, where Zukerman turned to the viola for Bach's G minor Gamba Sonata.
Balance between the soloist's crimson-velvet tone and accompanist Marc Neikrug was by no means ideal, Neikrug having to subdue a concert grand piano with its lid fully open, and coping with a keyboard part which, with more chords supplied, would have needed less coaxing into life.
But then came a genuine work for viola and piano, Shostakovich's last composition, his lengthy, searching and harrowing Sonata. Zukerman and Neikrug delivered it with huge authority.
Zukerman took up his more habitual violin for the second half of this well-constructed programme, sharing an easy, trusting collaboration with Neikrug in Mozart's Eflat Sonata K 481. Neikrug's phrases were beautifully turned, Zukerman's notes poised and pearly, beautifully warm.
Brahms' great D minor Sonata was given with inward songfulness from Zukerman and deft control of its impossible pianistic demands by Neikrug.
And then came the perfect encore, Zukerman modestly announcing Elgar's Six Pieces for Violin, touching in their earnestness, prophetic in their range of moods, and so eloquently conveyed here.
Christopher Morley
