The Chamber Music Society of Lincoln Center (CMSLC) presented a livestream dual recital as part of its Art of the Recital series on March 20, 2025. Live from the Rose Studio at New York’s Lincoln Center, violinist Kristen Lee and pianist Michael Stephen Brown presented a program of their favorite works for the sold-out audience, and for the livestreamed listeners and viewers. 

Kristen Lee spoke to the audience to introduce them to the basic facts she and her pianist friend used for the event. She mentioned that both artists chose their pieces, which is a rarity in musical programming. The evening began with a bravura piece by the famed violinist Fritz Kreisler. Indeed, it was a fiery, fierce showstopper very much in the form of a splashy encore. After audience acclaim, the recital continued. Ms. Lee then introduced the next piece, which she explained was representative of “The American Sound”, The Fourth Violin Sonata, 1914-1916, with the second movement being the heart of the piece, “Children’s Day at the Camp Meeting”, by Charles Ives. The Camp Meeting being a religious event of prayer.

Next, Mr. Brown spoke. He informed us that this is his 10th year with the CMSLC. He elaborated upon how he and his colleague decided on Ernest Bloch’s 1924 piece, Sonata Number 2, “Poeme Mystique,” written in a dream state where he overdosed on barbiturates to create an ekphrastic state of mind. This piece is ecstatic, in Mr. Brown’s view. Listening to the piece, we could also call it lurid, morbid, extreme, surreal, mournful, bardic, rapturous, and hysterical.

After the intermission,  Ms. Lee surprised us with a change of clothing for the John Adams, which she said was a product of America’s Minimalist Movement in music, as a West Coast Sound. A bit of humor was interjected by mentioning that this 1995 piece, Road Movies for Piano and Violin, was no longer New Music.

Next, a Romance written in 1893 by Mrs.Beach. A tuneful, and occasionally dramatic work, it soothed the mind, and overheated breast. 

The performance differs from the written program as posted. We have a Fantasy on Themes by George Gershwin, by Igor Frolov.

Unlike the beginning of this dual recital where the violin dominated, we have opportunities for bravura playing from both piano and violin. Startling variations throughout as well as prolonged pizzicato pizzazz.  

Mr. Brown relates the apocryphal tale of when Gershwin wanted to study under Ravel. Ravel said why would you want to be a second-rate Ravel, rather than a first-rate Gershwin? Both artists then launched into a fiercely beautiful Blues Movement from Ravel’s Violin Sonata.

The talented duo then performed a second encore, from Dvorak’s “Songs My Mother Taught Me.”

This was a spellbinding two hours of music.

For viewing this performance,  available until the evening of March 23, and to gather much more information about the CMSLC, and their concerts, visit www.chambermusicsociety.org .

PROGRAM

Fritz Kreisler, Praeludium and Allegro (in the Style of Pugnani) for Violin and Piano (1910)

Charles Ives, Sonata No. 4 for Violin and Piano, “Children’s Day at the Camp Meeting” (1914-16)

Ernest Bloch, Sonata No. 2 for Violin and Piano, “Poème Mystique” (1924)

John Adams, Road Movies for Violin and Piano (1995)

Amy Beach, Romance for Violin and Piano, Op. 23 (1893)

Igor Frolov, Fantasia on George Gershwin’s Themes. (1928?)

Encore: Ravel’s Blues Movement from his Violin Sonata. (Possibly 1928)

Encore: Dvorak’s Songs My Mother Taught Me.