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Resilience
Emmanuel Vukovich, violin; Katherine Dowling, piano; Philippe Sly, bass-baritone
HitLab Music, 2023
recorded by Leaf Music and distributed by Warner Music Canada
Canadian violinist Emmanuel Vukovich’s debut album is an ode to artistic and global resilience. Featuring a high level of creative and instrumental expression, the selection of pieces demonstrates the communicative power of music. On one hand, Vukovich pairs Serbo-Croatian, Romanian and Turkish melodies and Bartók’s Sonata for solo violin; on the other, Resilient Earth: Four Caprices for solo violin by Sheila Silver, the Sonata for violin and piano by Dinuk Wijeratne, and Patina by Zosha Di Castri. The contemporary works were written for Vukovich, who is joined on this occasion by renowned pianist, Katherine Dowling for Wijeratne’s sonata.
Vukovich’s lyrical ability is remarkable, as is his virtuosity. The album opens with a proposal of melodies, discovered in the archives of Columbia University, and premièred here. Vukovich interprets them with expressionism, alongside bass-baritone and hurdy-gurdy player, Philippe Sly. Silver’s Resilient Earth suite is one of the two most impressive works on the album. Vukovich interprets it with emotional investment and reverence.
Béla Bartók’s monumental Sonata for solo violin is up next. Vukovich executes it with commendable sound and rhythm control, as well as dramatic mastery. The piece demonstrates the composer’s strong bond with his origins, as well as his compositional skill. The sonata opens with a Tempo di ciaccona to great dramatic and virtuosic effect, followed by a Fugue for four voices in staccato, and a melody of clear popular inspiration, shrouded in fog and memory. The work closes with a final Presto of pure rhythmic virtuosity.
The album continues with Dinuk Wijeratne’s Sonata for violin and piano, written in 1998, and revised for Vukovich and Dowling in 2022. This is a piece of contrasts: a dramatic first movement is followed by an extremely meditative second one. The third movement is a furious Moto Perpetuo, of great virtuosity. Dowling plays with great musical intelligence, in excellent partnership with Vukovich. The project closes with Patina, written by Zosha Di Castri, professor of composition at Columbia University. The author’s indication, “contemplative, intimate, earthy tone” is perfectly realized in Vukovich’s playing.
An excellent album in many respects, from the impressive skill of the artists involved in the project to their beautiful collaboration.
A writer since his teenage years, Pietro Freiburger writes reviews for La Scena Musicale. Also a pianist, he is currently pursuing a doctorate in piano performance in Montreal. He loves endurance, yoga and meditation.
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