Ray Chen in recital with Julien Quentin. Photo by Alex Jamieson.
29-year-old Taiwanese-Australian violinist Ray Chen needs no introduction in the musical world. Since winning the first Menuhin competition at the age of 19 in 2008 he’s amassed various prizes, critical accolades, a record deal from prestigious label Decca and a multigenerational fan base bolstered by a vibrant social media presence with a youthful following. A sense of fanfare and ceremony was palpable on the evening, present even as the audience filed into the theatre at Queensland Conservatorium.
Accompanied by French pianist Julien Quentin (who appears on Ray Chen’s recently released album The Golden Age) the program displayed both artistry and virtuosity, with a series of technical trailblazers accompanied by two larger works: Franck’s Sonata in A Major and the premier of Dark Matter, a new work from Australian composer Matthew Hindson.
Opening the evening is the Chaconne in G Minor – widely attributed to baroque composer Tomaso Vitali, although its true origin is subject to debate. A popular mainstay in the violin repertoire, it’s as sweepingly emotive as it is technically dazzling. Performed by Ray Chen with a brilliant, silken tone on his Stradivarius – the 1715 “Joachim” – the colours and textures of this piece took a life of its own. Franck’s Sonata in A Major begins with a romantic and sedate first movement, and switches gears to fast and frenzied for the second and third movements. Perhaps with as much credit to Julien Quentin as to Ray Chen’s artistry, there was a sense of fresh authenticity to the performance – as if the audience was transported in time and place to France in the Romantic period.
Ray Chen in recital with Julien Quentin. Photo by Alex Jamieson.
Ysaye’s Sonata in D Minor is a technically fiendish show-stopper designed to impress. Chen performs the piece with an assured technical prowess and energy – so much energy that it resulted in the hairs of his violin bow coming loose. The performance had the audience on the edge of their and utterly captivated as Chen blazed through the pyrotechnics.
Matthew Hindson’s Dark Matter is a new contemporary classical work with weighty themes – ‘Dark Matter’ here has a double meaning, referring to both dark, difficult times and dark matter in physics. As with the Franck Sonata, it starts with a slower first movement that’s bittersweet and contemplative, and explodes into a fast and frenzied second movement. This premier performance of Dark Matter from Chen and Quentin has set a daunting standard for years to come.
At the conclusion of the evening the visibly appreciative audience was treated to two encores which echoed the programming choices of the concert: Estrellita, a whimsical piece from Mexican composer Manuel Ponce and a hyped-up version of Czardas arranged by Chen and Quentin themselves. Arguably the unplanned highlight of the evening, Czardas had the audience frozen in disbelief, then clapping along and finally brought to their feet – all in the span of a few minutes.
As remarkable as Ray Chen’s consummate skills on his instrument is his humility and sense of humor, apparent as Chen spoke fondly of Brisbane as his hometown and feeling like a little kid performing here and in his slapstick antics on stage.This recital presented by Musica Viva was a treat and privilege to watch, and showed that the hype surrounding Ray Chen is justifiably deserved and the future of classical music is in able hands.
5 stars ★★★★★
Ray Chen in recital with Julien Quentin
Presented by Musica Viva
Conservatorium Theatre, Queensland Conservatorium
11 August 2018
