Six Sonatas for Solo Violin

May 2023
In his rendition of Ysaÿe’s “Six Sonatas for Solo Violin,” young Czech virtuoso Daniel Matejča delivers a commanding performance that showcases his technical prowess and keen interpretive skills. The album, released under the Supraphon label, presents a fresh perspective on these iconic works, offering listeners a blend of clarity and controlled emotion.

From the very first notes of the opening G minor Sonata, Matejča establishes his approach: one of penetrating focus and an unwavering commitment to a well-defined musical line. His choice to prioritize clarity over fantasy lends a sense of precision to his playing, emphasizing the structure and intricate details of each movement. While this approach might differ from the more exploratory interpretations by other violinists, such as Ibragimova’s rendition on Hyperion, Matejča’s deliberate style allows for a deep appreciation of the music’s inner workings.

The notable “Prelude Obsession” in Sonata No. 2 is a standout moment, as Matejča playfully captures the essence of fellow violinist Thibaud’s daily practice routine of Bach’s E major Partita. This whimsical touch adds a layer of humor and charm to the performance, creating a contrast to the fiery drama brought forth by James Ehnes on his rendition. In contrast, Matejča’s rendition of “Malinconia” is characterized by poignant simplicity, showcasing his ability to evoke deep emotional resonance with his instrument.

The heart of the album resides in the single-movement Third Sonata, dedicated to Enescu. Matejča masterfully navigates the brooding and sinuous narrative of this piece, demonstrating a level of assurance that belies his young age. This central piece serves as a showcase of Matejča’s ability to delve into the emotional core of Ysaÿe’s music and communicate it effectively to the listener.

In the Fourth Sonata, dedicated to Fritz Kreisler, Matejča brings a supercharged ardor to the performance, infusing the music with a sense of urgency and passion. However, his Presto movement, while skillfully executed, lacks the quicksilver effortlessness that Ibragimova’s interpretation on Hyperion exudes. The sixth sonata, with its virtuosic challenges, showcases Matejča’s technical command, although some of the enchanting magic that characterizes these works might occasionally seem lost in the midst of the demanding passages.

A notable addition to the album is Jana Vöröšová’s commissioned coda, which serves as a striking conclusion to the set. This piece beautifully encapsulates the lingering emotions that reverberate in the air after a performance of Ysaÿe’s mesmerizing compositions.

In sum, Daniel Matejča’s interpretation of Ysaÿe’s “Six Sonatas for Solo Violin” is a commendable endeavor that offers a fresh perspective on these enduring works. His emphasis on clarity and deliberate expression provides listeners with a unique lens through which to appreciate the intricate craftsmanship of Ysaÿe’s compositions. While some moments may lack the sheer fantasy of other interpretations, Matejča’s bold and impressive performance ensures that these sonatas continue to captivate audiences and serve as a testament to the enduring art of solo violin music.