Renowned violinist Midori returns to Boston
Midori presents a stunning violin concert accompanied by Özgür Aydin on piano
Photo Courtesy of Robert Torres
Celebrity Series of Boston
Midori, violin; Özgür Aydin, piano
NEC Jordan Hall
March 7, 2025
For the first time since 2012, renowned violinist Midori Gotō, known publicly as Midori, returned to the Celebrity Series of Boston with a stunning program accompanied by Özgür Aydin on the piano. Opening with Robert Schumann’s Stücke im Volkston (“Pieces in the folk style”), Op. 102, the program continued with Johannes Brahms’s Sonata No. 1 in G Major followed by Francis Poulenc’s Sonata for Violin and Piano, FP 119, Maurice Ravel’s “Kaddish” from Two Hebrew Songs, and finally, Ravel’s Tzigane, M. 76.
Interestingly, several of the pieces Midori chose for the program were not initially intended for a violin and piano duo, or were written by musicians who mainly worked on other combinations of instruments. Schumann originally wrote the work for cello and piano, Brahms wrote several violin sonatas before his first sonata for violin and piano, and Poulenc worked mainly with wind instruments. Nonetheless, Midori and Aydin blended their performances together expertly.
Schumann’s Stücke im Volkston consisted of five movements. One of the greatest composers of the early Romantic era, Schumann is known for creating passionate and poetic music, and this is no exception. The movement shifted from the whimsical notes likened to a frolicking goat, to a focused repetition, then to a slow connected and expressive note that seemed never-ending. The two instruments accompanied each other in strength and built upon each other, whether it was the violin echoing the piano’s phrases, or the piano supporting the violin with chords.
Following the Schumann piece was the Brahms sonata, which consisted of three movements instead of the traditional four in this composition. The violin circled and danced around the strong yet calm chords of the piano, and the two harmonies rose and fell together. The soft plucking of the violin reflected against the clear sparkling notes of the piano, and Midori’s precise technique ensured that each vibrato and spiccato were exactly where they should be. In fact, Midori’s perfection sometimes almost takes away from the emotional aspect of the performance. Every note and transition seemed to land exactly where it should have been, but that also speaks to Midori’s incredible control of her instrument.
Midori’s performance continued with Francis Poulenc’s Sonata for Violin and Piano, FP 119, another captivating display of technical precision and emotional depth. She skillfully balanced the sonata’s contrasting moods, seamlessly shifting from the brooding lyricism of the first movement to the playful energy of the second. Accompanied by a pianist who matched her sensitivity, Midori delivered a performance that deepens the listener’s appreciation of Poulenc’s uniquely Romantic and melodic style.
Afterwards, the duo performed Ravel’s “Kaddish” from Two Hebrew Songs. In Judaism, the Kaddish is a Jewish hymn sung for prayer; the “Kaddish” in this piece is for mourning. Midori opened with an incredibly powerful melody that sounded like a singing voice filled with grief. Adding to the sorrowful nature was her subtle note slide that changed the melody’s pitch ever so slightly. The quick, ascending notes on the piano resembled smooth ripples in water, which provided a nice contrast to the violin’s lyrical sound. Towards the end of “Kaddish,” the violin’s crescendo and piano’s striking chords built up to this climax of emotional tension that perfectly conveyed the rawness and pain that comes with loss.
The concert concluded with Ravel’s Tzigane, a famous virtuoso piece for the violin. Meaning “Romani” in French, Tzigane stands out for being in the style of a Hungarian rhapsody. Midori captivated the audience right away with her smooth, deliberate bowing that brimmed with energy. The significant contrast between the short and long notes in the melody made the piece feel dynamic and ever-changing. The piano’s quasi cadenza introduction contributed to a stormy opening at first, but then the intense trills helped build up anticipation rapidly and transition to the violin’s playful passage.
The violin’s light grace notes as well as the frequent staccatos resulted in a light-hearted and mischievous passage that evoked images of a galloping pony. Similarly, the piano’s repeating octaves added to the melody’s jumpy nature. The main highlight of Tzigane, however, is the violin’s solo cadenza at the end of the piece. After a relatively calm period in which the piano played a shimmering melody while the violin played pizzicato notes as a nice, finishing touch, the violin’s melody started to enter a state of frenzy. Midori’s rapid and intense playing had a dizzying effect and left the audience spellbound as she played each improvisation precisely and impeccably. When she finished playing Tzigane, the entire audience stood up to give a standing ovation, and some in the background yelled, “Bravo!”
After the performance, Midori and Aydin played “Hai Luli” from Six Melodies et Une Havanaise by Pauline Viardot for the encore. Midori finely expressed the emotional complexities in the piece, smoothly transitioning between the wistful and dreamy parts of the piece.
Midori’s performance was truly impressive, showcasing both her technical precision and deep musical expression with the violin. From the emotional depth of Schumann’s Stücke im Volkston to the exciting energy of Ravel’s Tzigane, she captivated the audience with every piece. Along with Aydin’s expert piano accompaniment, the two created a dynamic and engaging experience.