Viktoria Mullova & Katia Labèque

Queen’s Hall

There was no thematic focus to this programme so consequently the music felt unanchored too. Mullova’s opener, an account of Prokofiev’s Sonata for solo violin in D major, was the highlight. Her agile string crossings and rhythmical attack were dramatic while her lyricism underpinned quieter moments.

Pairing Takemitsu’s early work Distance de Fée with Avro Pärt’s Fratres worked well. The chunky Messiaenlike piano chords and shimmering violin textures in the former complimented Pärt’s pared-down ethereal score. However, there were some rough edges in Fratres and a dullness to the composer’s trademark tintinnabulation. .

Schumann’s Violin Sonata No. 1 in A minor is a meatier work and Labèque rose to the challenge of creating the impression of a full orchestra with the torrent of notes that back the violin melody. If anything she could have played out more to match Mullova’s tonal depth. What a difference it made when she did this in Ravel’s blues-driven Violin Sonata in G major. Here, at last, was a dialogue between the musicians, especially in the moderato and the fleet-footed finale.