Songbird

April 2023
Maria Ioudenitch, the talented winner of the Joseph Joachim International Violin Competition in 2021, makes a remarkable debut with her album “Songbird.” Collaborating with pianist Kenny Broberg and soprano Theresa Pilsl, Ioudenitch’s violin performance is marked by its captivating vocal quality, reminiscent of a bygone era. This collection, released under Warner Classics, offers a tastefully curated assortment of 19th- and 20th-century pieces, showcasing Ioudenitch’s expressive musicianship and Broberg’s nuanced accompaniment.

The album’s opening sets the tone with Schubert’s Fantasie in C, D934. Ioudenitch’s rich and resonant tone immediately draws listeners into a world of intricate melodies and emotional depth. Her instrument, a 1691 Guarneri, contributes to the album’s warm and enveloping sonic palette, amplified by the resonant acoustic of the recording space. Broberg’s sensitive piano playing complements Ioudenitch’s violin beautifully, forming a harmonious partnership that underpins the entire recording.

Throughout “Songbird,” Ioudenitch’s approach is both technically adept and emotionally engaging. She skillfully captures the essence of vocal expression, a hallmark of her inspiration from the human voice. The inclusion of transcribed songs allows her to explore a wide spectrum of emotions. In Rachmaninov’s “Don’t sing, my beauty, for me,” Ioudenitch masterfully conveys the piece’s melancholic longing and impassioned intensity. Fanny Mendelssohn’s “Erwin” sees Ioudenitch’s violin become a voice of its own, as if engaged in a lyrical conversation.

The album’s diverse selection ranges from the familiar to the lesser-known. Notably, Nadia Boulanger’s “Soleils couchants” adds a delightful touch of rarity to the program. The inclusion of Clara and Robert Schumann’s Romances and Amy Beach’s pieces without words offer glimpses into different compositional styles and cultural influences.

Ioudenitch’s interpretation of Medtner’s works demonstrates her ability to infuse violin and piano pieces with a sense of collaborative dialogue, rather than a mere accompaniment. This approach is most striking in the more substantial centerpiece, Schubert’s four-movement Fantasie in C. Here, Ioudenitch and Broberg navigate the piece’s complex structure with intelligence and artistic sensitivity.

The album’s titular track, Glinka’s “L’Alouette (The Lark),” showcases Ioudenitch’s ability to evoke avian melodies and virtuosic passages, demonstrating her versatility as a “songbird” of the violin. As a captivating conclusion, the album culminates in Strauss’s “Morgen,” where Ioudenitch’s violin seamlessly intertwines with Theresa Pilsl’s radiant soprano, illuminating the inherent vocal qualities of the instrument.

In “Songbird,” Maria Ioudenitch, along with her accomplished collaborators, offers a unique and compelling musical journey. Her violin sings with eloquence, capturing the essence of the human voice and inviting listeners to immerse themselves in a world of evocative melodies and profound emotions. This debut album showcases Ioudenitch’s promising artistry and bodes well for her future endeavors in the world of classical music.