Volodja Balzalorsky

SZYMANOWSKI Violin Sonata. FRANCK Violin Sonata. SKERJANC Liricna bagatela • Volodja Balzalorsky (vn); Hinko Haas (pn) • CANTABEL 002 (52:39) Live: Belgrade 4/1998
The second volume of Volodja Balzalorsky’s “Live Collection” presents a recital he gave in April 1998, with pianist Hinko Haas in Kolarac Hall in Belgrade. The program opened with Karol Szymanowski’s ripely romantic Violin Sonata, a piece first performed by Paul Kochánski and Anton Rubinstein in 1909 (by way of reference, the two violin concertos come from 1916 and 1933 and the relatively popular Mythes and Notturno e Tarantella, from 1916). But however early in his production, Szymanowski’s sonata seems especially well suited to a violinist who understands the somewhat elusive though ecstatic harmonic language that underpins some of the work’s most traditional-sounding passagework (remember the way in which Szymanowski underlayered Paganini’s Caprices Nos. 20, 21, and 24 with his own rich harmonic substratum). Balzalorsky and Haas seem particularly unconstricted breathing this somewhat heavy and slightly exotic atmosphere, notably, perhaps, in the second movement. They begin the third with an energy similar to that which they generated at the opening of the first, an energy that Balzalorsky maintains at times by means of a tone just raw enough to create an occasional frisson at climactic moments. And they bring the movement to a blazing conclusion.

In Franck’s Sonata, one of the repertoire’s staples (Heifetz chose it for his last recital), they invite comparison with the great performances through the history of recording. But Balzalorsky’s ability to turn and twist his tone, and the performers’ joint sympathy for Franck’s expressive harmonic language (think of the haunting ninth chords at the opening of the piano part) and surging passages give them a strong foothold in the first movement. They slightly hold back climaxes, making them just bearable, and exhibit a wide dynamic range in exploring the movement’s subtleties. In the engineers’ recorded sound, Balzalorsky’s entrance in the second movement seems almost cavernous, but they’ve by no means diminished the urgency of his reading. Compared to Isaac Stern’s raw energy, Balzalorsky’s seems super-subtleized in this sonata (Franck wrote it as a wedding present for Eugène Ysaÿe, who could strike sparks in the last movement of Mendelssohn’s Concerto but who, as a composer, could also lead violinists through rhapsodic serpentine chromaticism in his own solo violin sonatas). Balzalorsky and Haas know how to fall back before springing (as they do at the movement’s end), and the effect can be overwhelming. The duo opens the canonic last movement at a somewhat slow tempo, but Balzalorsky plays with a subtly varied tone that continuously enlivens the musical interest until their shattering final pages. After the intensity of their reading of Franck’s finale, Lucjan Marija Skerjanc’s two-minute Liricna bagatela comes as sweetmeat. (According to the jewel case, Skerjanc lived between 1900 and 1973.)

If Balzalorsky’s tone doesn’t always sound lush, that may be partly due to the engineering, but he also may not seek tonal opulence, as do many, as an end in itself. For the inherent interest of the program and for the performances themselves, the release deserves a high recommendation.

Robert Maxham



This article originally appeared in Issue 33:6 (July/Aug 2010) of Fanfare Magazine.


- Fanfare

VOLODJA BALŽALORSKY LIVE IN MARIBOR • Volodja Balžalorsky (vn); Christoph Theiler (pn) • CANTABEL 003 (45:58) Live: Malibor

DVORÁK Violin Sonatina. DEBUSSY Violin Sonata. SREBOTNJAK Violin Sonatina No. 1. PAGANINI Cantabile

The third volume of Volodja Balžalorsky’s “Live Collection” presents a recital given by Balžalorsky and pianist Christoph Theiler in Kazina Hall in Maribor, and recorded by Radio Sloveni-Regionalni RTV, in 1989. The duo opened the program on that occasion with Dvorák’s Sonatina, its first movement (and the opening of the second) suffused with glowing warmth and the charming rhythmic patterns teased cleverly out of the Larghetto’s middle section. Balžalorsky studied for a while with Josef Suk in Vienna, and he plays the Sonatina’s Scherzo as though he had written it, with particularly insinuating subtlety in the trio. The work has been called the “Indian Sonatina” because of its connections with Iowa and Minnesota, but Balžalorsky colors it middle European rather than middle American. If, after the first three movements, he seems to press in the Finale, his rhythmic energy and robust tone tie it—especially its reflective penultimate passage—to the other movements.

The first movement of Debussy’s Sonata in Balžalorsky’s performance sounds slinky and ethereal in its first movement, with appropriately reedy and highly inflected tone production, while Theiler provides shimmering background. I’ve watched David Oistrakh playing this work with Frida Bauer (on VHS, Kultur 1208) many times, but he didn’t seem to make as many timbral adjustments (neither did Isaac Stern in his recording from 1960) as does Balžalorsky in order to realize the movement’s full potential (Joseph Szigeti did—at least almost did—in his 1940 recital with Bartók, though the recorded sound doesn’t allow listeners to hear all of the expressive detail they seemed to produce). The Intermède: Fantasque et léger, however, sounds generally heavier and less fantasque in Balžalorsky’s reading (especially in the central section’s repeated notes) than it does in either of these others so that the return to greater poignancy at its end provides a lower level of contrast. Nevertheless, Balžalorsky’s final passage suggests pastels, though haunting ones. The duo begins the last movement slowly, but quickly turns to a sort of sharp-edged articulation that lends the movement unusual excitement almost to the end.

The three movements of Alojz Srebotnjak’s First Sonatina last only about eight minutes. The opening Allegro deciso, crisply rhythmic and tonal, assigns to the piano the role of a relatively equal partner, and Balžalorsky and Theiler collaborate in it with energetic élan. The slow movement begins with a plaintive song for solo violin. Balžalorsky invests its singing melodies with great beauty of tone, and Theiler provides suggestive commentary. The finale, Danza, returns to the first movement’s rhythmic piquancy and sharp definition, with the violin at the outset setting the pace with slashing double-stops reminiscent of those in Stravinsky’s Violin Concerto. In general, it’s a work and a performance that collectors and explorers of all kinds should welcome—including the closing reading of Paganini’s brief Cantabile (so often played with guitar) epitomizing elegant refinement and suave tonal charm.

If the CD’s short duration gives anyone pause, the program’s general excellence (as well as the vibrant recorded sound) should, in this case, compensate in some measure, especially since the program represents a single live performance. Recommended. Robert Maxham

This article originally appeared in Issue 33:6 (July/Aug 2010) of Fanfare Magazine. - Fanfare

AWARDS AND NOMINATIONS:
Hollywood Music in Media Award - Best Classical (Nov 19, 2009)
Inland Empire Music Award 2008 - Best International Artist
The Ontario Independent Music Award 2007 - Best International Artist.
The Canary Islands Music Award 2007-Category: Interpretation-Instrumental (Sonata in A major by Cesar Franck).
The Los Angeles Music Award 2007 and 2008 Nominee
Hollywood Music Award 2008 Nominee - classical
Julij Betetto Music Award 2006 - the highest music award in Slovenia for classical music.
Just Plain Folks Music Award 2006 Nominee: Best Chamber Music CD

- PR WEB Published December 17, 2009

...Balzalorsky is an intelligent artist with sweet tone and a smooth technique. In this 1989 issue from the International Chamber Music Series of Maribor, Balzalorsky's Dvorák Sonatina is delightful and soulful, his Debussy Sonata is light and ethereal, his Paganini Cantabile is ripe and tender, and his Srebotnjak Sonata No. 1 is powerful and persuasive.
With the sympathetic accompaniment of German pianist Christoph Theiler, Balzalorsky's performances are easily in the same league as many of the better international performances of the past 20 years and well worth hearing... - "All Music Guide" Reviewed by James Leonard

.. The concert of Amael Piano Trio shall remain reasonably be remembered as a great artistic event of valuable guest artists from Slovenia... ...L.M. Skerjanc's Maestoso lugubre oppressed by the tragedy of this score, which requires balancing of pathos and restraint, was realized through a saturated, dark sound range, and deep sound conformation, which occurs only as a result of common breathing...

Playing in some parts of the "Nocturne" by Shubert on the very threshold of hearing, members of the trio Amael here demonstrated exceptional subtlety of mutual listening, like the kind of prompt with silence...



After only a brief introduction of the first paragraph, in which, after performing a solo piano, imperceptibly interfere section violin and cello, it was clear from how much restraint, lyricism and, why not, the nobility, the AmaelPiano Trio interpret Beethoven's music.

Reviewed by Ivana Komadina - "Radio Belgrade" October 25 2010

The members of the Amael Piano Trio have a large discography and numerous works composed for them. On this occasion they presented a fascinating selection of Slovenian music and a riveting interpretation of Beethoven’s ‘Archduke’.

Pride of place was accorded to Maestoso lugubre by one of the leading Slovenian composers, Lucijan Marija Skerjanc (1900-1973), a multi-talented musician – pianist, conductor, composer and head of the Ljubljana Academy of Music – who composed it when he was thirty-five, as the finale of a 45-minute work. The movement starts with a Hindemith-like fugue based on a widely contoured subject, introduced here with strident resonance by Damir Hamidulin. The work evolves a more opulent chromatic impressionism reminiscent of Delius, with crunchy piano chords overlaid by expansive, sustained melodies in octaves for strings. There is a funereal dotted-rhythm procession assigned to the piano at the mid-point, which Tatjana Ognjanovic projected with compelling character, highlighting the biting, ostinato-laden bittersweet flavour suggestive of Shostakovich. In the final section there are several passages of exquisite beauty which counter the general dour mood, but the ending is a darker procession for piano alone.

In a more experimental atonal idiom was Something Wild by Nenad First (born 1964), an intriguing work that Volodja Balzalorsky projected with stunning virtuosity and gripping energy. In the hands of this subtle yet communicative artist the violin came alive, with pointed pizzicato, incisive double-stopping and rapid passagework adding to the relentless excitement.

A more radical exploration of the piano trio emerged in Five Short Pieces by Milko Lazar (born 1965). Composed in 2001 for the Amael musicians, each of the movements is vividly contrasted and finely crafted, alert to a range of influences including minimalism, jazz harmonies and rock rhythms. The two slow movements, second and fourth, evoked poetic imagery in the spare use of tiny ostinato patterns and wisps of melody; in the second (‘Largo lamento’) an atmospheric texture of high violin and low piano chords frame an elegiac cello melody. The faster movements radiated energy and panache, with quick-fire repeated-note motifs and fizzing syncopations.

The concert concluded with a superb ‘Archduke’, full-blooded in tone yet also respectful of structural clarity. Magical colouring of modulations, highlighting of luminescent trilling, and fresh shades, lifted this performance above the usual. The fast tempo for the scherzo contributed to its lively imitative dialogues, and also the syncopations of the jocular finale. Yet the Variations of the third movement was the highpoint, a transcendent, calm flowing beauty of tone, the rhetoric involving and absorbing. The Amael Piano Trio was on top form and will be welcome in London again and often.

Reviewed by: Malcolm Miller - "The Classical Source": November 30, 2010

A top-notch ensemble, the Amael Piano Trio, was presented this weekend under the auspices of the Spectrum Chamber Music Society, with the support of the Ministry of Culture of the Republic of Slovenia. In a program of 20th-century Slovenian music (first half) and Beethoven’s Piano Trio in B-flat, Op. 97, the “Archduke” (second half), they brought unity and vigor to both old and new.

The Amael Trio, based in Ljubljana, states in its biography (in addition to mentioning traditional repertoire) that it is “dedicated to performing contemporary works, and to the promotion, internationally, of Slovenian composers of piano trio literature.” They did an excellent job of just that in their Saturday evening program, and though only the pianist and violinist are natives of Slovenia (the cellist hailing from Russia), they represented Slovenia with honor. They might add to their biography that they also promote some non-trio works, as there was a violin solo included on their program; considering that each of the three players is of such strong individual ability, they might want to incorporate some solos or duos by the pianist and cellist as well. It would be a welcome addition.

The concert opened in an intensely dark vein with “Maestoso Lugubre” by Lucijan Marija Skerjanc (1900-1973). Composed in 1935, the work is actually the last movement of this composer’s Piano Trio, though Skerjanc himself suggested that it be performed as a single work. From the very first solo cello notes by Damir Hamidullin, a somber lyricism pervaded, deepened by each player’s entry. The synchronization was marvelous, particularly in the string doublings (which can so easily sound “off” but were never so). All three blended in a way that was rich and warm, but also translucent, like the sonic equivalent of amber. The pianist, Tatjana Ognjanovic, managed to be the perfect foundation and “glue” for the trio without any suggestion of dominance even with the Steinway lid up.

Violinist Volodja Balzalorsky came onstage next as soloist in “Something Wild” by Nenad First (b. 1964). Mr. First, though born in Zagreb, lives and works in Slovenia. “Something Wild” is pretty much what its title suggests, a rhapsodic, virtuoso violin showpiece with a rough, rustic streak (plenty of fifths) and dizzying speed (think Bartok meets Paganini). Seemingly fiendishly difficult in parts, it was the compulsory violin work in the 2005 International Johannes Brahms Competition. While I cannot profess to love the piece, it was an intriguing break from the trios and certainly an opportunity for Mr. Balzalorsky to shine.

The first half concluded with the trio performing “Five Short Pieces” by Milko Lazar (b. 1965). Dedicated to the trio in 2001, it is a work of great variety within concise, classically restrained movements, each contrasting with the last (arranged as fast, slow, fast, slow, fast). The performance was one of extreme precision, and it would be hard to imagine it being played more convincingly than it was by this tightly knit ensemble.

Beethoven’s “Archduke” Trio, a masterpiece that is reason enough to go to any concert, was given a fine, mostly polished performance for the evening’s close. Performers are unfortunately subject to the accumulated preferences of a listener when performing such an established masterpiece, and I felt it was slightly unsettled in parts. Occasionally it was a matter of simply needing more agogic placement of downbeats (as in the first movement’s initial move to G major, where a more settled metric feeling can enhance ensuing rhythmic surprises), but other times (as in the magnificent third movement) it seemed that the pursuit of momentum was undermining the overarching grandeur of the work. All in all, though, it was a fulfilling musical evening, and this is a superb ensemble, which I hope to hear again.

-Rorianne Schrade for New York Concert Review; New York, NY
- "New York Concert Review" November 13 2010

"New York Concert Review - January 2007": Amael Piano Trio at Carnegie Hall, June 2 2006
Amael Piano Trio is a very fine group. The stringplayer's intonation is impeccable, their tone is rich, beautiful and homogeneous and can vary from floating delicacy to vibrant full bodied sonorousness...
A large multi-national audience rewarded the performers with warm approval and prolonged ovations.
by Edith Eisler

"New York Concert Review - January 2006": Volodja's performance at Carnegie Hall in September 2005

Volodja Balzalorsky in a performance of Janacek, Skerjanc and Brahms:
Finally we heard the soloist whose musical lines seemed to go somewhere, finally some exciting music making.
by Harry Saltzman - by Edith Eisler and Harry Saltzman

Volodja Balzalorsky et Christoph Theiler, un duo aux qualites complementaires, au jeu tes fin, aux interpretations intelligentes et sensibles...

Volodja Bazalorsky and Christoph Theiler complement one another well, with very subtle playing, intelligent and sensitive interpretations...
Jacques Lonchampt - Le Monde
- by Jacques Lonchampt

An extremely fine artist...remarkable technique and strength of sound...an eloquent sensitivity and an interpretative character of great force, makes him one of his country?s best - known violinist. A gifted musician, but blind to the temptations of star - like behaviour. - "Bassa Romagna" - Salvatore Grillo

"Music.download.com 2006"
Forgoing the silken tone oft used for Debussy or Brahms in favor of a fuller, rangier fiddle sound, Balzalorsky brings the rambling violin of the fin-de-siecle Eastern European composers back to the 19th-century Westerners. It's a brilliant bit of retroaction that gives the works a new vitality and presence

"Music.download.com 2006": about Amael Piano Trio
This award-winning Slovenian group plays its renditions of 19th-century German and Russian luminaries with a masterful cross of red-blooded force and delicate restraint. It's that balance of vigor and vulnerability that distinguishes these works, this trio hits all the right notes.

"Music.download.com 2005"
Slovenian concert violinist Volodja Balzalorsky puts his instrument front and center to beautifully interpret classical works from the Romanticism and Impressionism eras. With only piano as accompaniment, he elevates the material with his intuitive and refined technique.
- Editor's Reviews: about recordings of Volodja and Amael Piano Trio at download.com

"Outstanding violinist Volodja Balzalorsky scores a splendid success"... a brilliant, powerful and inspired interpreter...
Volodja Balzalorsky is passionately devoted to violin, inspired by the flame which distinguishes the most refined and authentic violinists capable of building the dramaturgy of musical works in the most natural and persuasive manner. His interpretation calls for an exalted and compassionate listener, which is the distinction of rare and predestined musicians. - "Vecerne Novosti" - Slobodan Turlakov

"LA VOCE DEL POPOLO" - Radojka Sverko - Music Festival Pula
"Affascinati dal duo Volodja Balzalorsky e Jaksa Zlatar"
Affascinante e oltremodo musicale il duo violino e piano-forte, Volodja Balzalorsky e Jaksa Zlatar.
Il programma presentato colossale nei suo insieme...
...splendidamente interpretati dai due musicisti... Abbiamo sentito ancora il bell Entre'acte di jacques Ibert e la Sonatensatz di Brahms pure ineccepibilmente eseguite ed ancora due extra quali bis a grande richiesta di publico...
...Un grande concerto, che ha dato lustro al Festival per lo charme, il virtuisismo terso oppure pieno di fascino, la grande competenza di due musicisti che operano su scala mondiale eppure cosi vicini e attenti alla sollecitazione del pubblico, alla gioventu musicale che seguono e alla quale prestano grande attenzione...


"ALLA RIBALTA" - Alberto Spano (Special Italian Music Magazin)
Non e piu il caso di parlare di interpreti o di promesse nel caso di Volodja Balzalorsky, violinista sloveno ascoltato nei ciclo "Musica con..." in duo col pianista tedesco Christoph Theiler in Dvorak, Debussy e Brahms: una cavata di eccezionale bellezza e dal timbro di particolarissimo colore, apparso a Bologna come una meteora con il suo bagaglio di emozioni, di languori, di virtuosismo e temperamento, seguito dalla tastiera prontissima di Theiler. Un pianista toscano molto promettente (bella mano, suono calibrato, ottimo curriculum) succedeva a Balzalorsky.


"OKO" - Zagreb
The brilliant violinist Volodja Balzalorsky focused the audience's attention on his stunning interpretation of Brahms, Bloch and Lipovsek.


"BASSA ROMAGNA" - Salvatore Grillo
Due vallidissimi artisti Volodja Balzalorsky il sloveno Volodja Balzalorsky ed il tedesco Christoph Theiler-Volodja Balzalorsky dispone di una tecnica raguarevolle e di potenza di suono, arricchiti da una sensibilita espressiva e da uno temperamento interpretativo di grande reliefo, che ne fanno uno dei violinisti piu noti nel suo paese. Il partner al pianoforte non era certamente da mano, in quanto a talento interpretativo e ad accuratezza esecutiva: Theiler e capace di alternare il suono scrrevole e nuance alle tempestose incursioni sulla tastiera.
L'insieme si fa apprezzare per la capacita di fondersi in un dialogo esuberante, ma emotivamente ben controllato, ove chiarezza e semplicita si intrecciano con dinamismo appasionato.


"NEUE MUSIC ZEITSCHRIFT" - Claus-Henning Bachmann
Georg Crumb Festival-European Month of Culture (Ljubljana 1997)
Das Finalkonzert, von Musikern (Ensemble Ouverture) exzellent musiziert, bot als Hauptwerk "Black Angels" (Volodja Balzalorsky, 1.violine, Irina Kovorkova, 2.violine, Svava Bernhartsdottir, viola, Igor Mitrovic, cello) eine wiederum anspielungsreiche, spirituell aufbereitete Reise der Seele als Auseinnandersetzung mit dem Vietnam-Krieg. Die Begrenzungen dieser Musiksprache waren unüberhörbar, doch eine kleine, von Crumb offenbar gut eingestimmte Gemeinde lauschte wie gebannt.


"FRÄNKISHER TAG" - Volodja Balzalorsky und Christoph Theiler präsentieren sich als ideales Duo, bewiesen künstleriche Übereinstimmung und faszinierten beim Vortrag des gut gewälten Programmes.
...Ebenfalls aus Wien war der hervorragende Geiger Volodja Balzalorsky gekommen um mit erstaunlicher Interpretationskunst zu begeistern...Die Wiedergabe dieses inhaltsreichen Werkes (J.Brahms-Sonate Op.100) war eine Meisterleistung...Nach spontanem und langanhaltendem Beifall gab es noch zwei Zugaben: Es ertönte Scherzo in c-moll von Johannes Brahms und Sarabande von Jean Maria Leclair in andachtsvoller
Schönheit...
Fränkischer Tag - Otto Feneberg

"DNEVNIK"- Ljubljana
"An important artistic event" throughout the evening, we enjoyed the masterly interpretation...an exceptional harmony of ease and authenticity of performance...


"NÖ Nachrichten"
Ost-West Musik Fest: A. Vivaldi-Konzert für vier violinen:
Volodja Balzalorsky, Rusne Mataityte, Valery Oistrach und Gernot Winischofer leisteten ganze Arbeit. "Solisten Quartett" verstand es, die zahlreichen Zuchörer-circa drei hundert füllten das Und-Kloster fast zur Gänze zu begeistern.


"DIE PRESSE" - Walter Dobner
...Ausdruckvolle strömende Kantilene...


CD-Journal "REGIO", Juliheft 2001
Freiburger Barocksolisten-Volodja Balzalorsky als Konzertmeister und Dirigent
"Geerdete Kraft und filigranes Spiel"
Diese CD ist im Rahmen der 53. Neuburger Barockkonzerte 2000 entstanden. Auch für Musikkenner lesenswert ist die ausführliche Beschreibung, die der CD beiliegt. Die renommierten Freiburger Barocksolisten (Künsterische Leitung- Günter Theis, Konzermeister und Dirigent-Volodja Balzalorsky) präsentieren Werke von Johann Sebas tian Bach (Brandenburgisches Konzert F-Dur). Wolfgang Amadeus Mozart (Konzert G-Dur für Quernöte und Orchester). Ludwig van Beethoven (Variationen über Mozarts ?Reich mir die Hand zum Bunde") und Johann Andreas Amon (Quintett G-Dur für Flöte, Viola und Streichertrio).
- New York Concert Rerview, Fränkisher Tag, Neue Musick Zeitschrift, NÖ Nachrichten, Die Presse, CD jo

"Composer USA" and "Opus Musicum" by Jan Grossman
"12th Forfest Kromeriz first time in the 21st century"
Two lively and outstanding Slovenian artists, violinist Volodja Balzalorsky and pinist Marina Horak.
Very interesting also was the probe into Slovenian composer's work performed by two lively and outstanding Slovenian artists, violinist Volodja Balzalorsky and pianist Marina Horak. All compositions were composed with invention and skill, and of course rendered excellently.

"DNES-Mlada fronta", Prague: by Wanda Dobrovska

Volodja with Percussion Plus Project in Prague:
Volodja Balzalorsky performed Fiser's "Crux" from memory, thus bringing to the performance an impulse of experienced, virtuoso immediacy...every thing that he attempts is entirely concentrated in the moment... - "Composer USA" and "Opus Musicum" by Jan Grossman / "DNES-Mlada fronta", Prague: by Wanda Dobrovska

Balzalorsky's strings haunt with an evocatively rich Old World elegance. - by Doug Freeman