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Kansas City's Online Journal of the Performing Arts

The evening’s program was well paced and progressed with each piece more captivating and technically challenging than the last. Starting with the leisurely and accessible Brahms’ Sonata No. 2 in A Major, Op. 100, Bell’s theatrical physicality gripped the audience while bringing a depth and intensity to even the pithiest of phrases. Schubert’s Fantasy in C Major, Op. 159, D. 934 displayed Bell’s deft string crossings and impeccable bow control, especially during fast sections, keeping up the relentless pace and rhythm. The Schubert lacked balance and clarity though when pianist Sam Haywood’s dense harmonic phrases easily overpowered Bell’s spry pizzicatos near the piece’s end.

Following intermission was Grieg’s Sonata No. 2 in G Major, Op. 13, a work of highly contrasting moods which Bell exploited to the fullest with emotive and engaging lyricism. His expression and energy in the work’s opening statement was one of the night’s highlights. Bell continued with two works announced from the stage: Sibelius’ sweet and lovely Romance and Wieniawski’s spirited and showy Polonaise brillante. Bell’s rapid and rhythmic bowing, accurate interval jumps, clear harmonics and double stops, and the flawlessly in-sync rubato between Bell and Haywood made Polonaise brillante my personal favorite on the concert and a perfect closing piece. A Chopin nocturne was their single, touching encore.

Sam Haywood was a notable performer as well, taking wonderful advantage of his brief solo spots. His fluid and sensitive style made his long scalar patterns especially impressive. His excellent timing and chemistry with Bell resulted in a strong and favorable partnership.

This performance was near-flawless. Bell’s style is on the aggressive side, which occasionally lets through a minuscule intonation issue or string buzz. But his solid tone, natural articulation and dynamic transitions, and ability to affect and connect with the listener make any slight slip unquestionably forgivable and quickly forgotten.

With his warm personality, effortless yet dramatic stage presence, and unwavering commitment to the music, Bell is certainly deserving of his “rock star” status in the Classical world. The man knows how to put on a show.

REVIEW:
Harriman-Jewell Series
Joshua Bell, violin
Saturday, January 22, 2011
Folly Theatre
12^th and Central Streets, Kansas City, MO
www.hjseries.org

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.