Opening with Sonata No. 1, there were some deft exchanges between performers. Of particular interest were the moments when violin and piano briefly shifted roles with Hadelich playing accompaniment to Barnatan. Hadelich especially seemed to relish these moments, holding back and seeming to enjoy being out of the spotlight for a moment. Although Barnatan had a tendency to overpower the violin from time to time, there were deft and perfect call and response passages in this first movement. Hadelin played with a well-rounded tone, rich and full, which was needed with the rather loud piano. In the final movement he employed a bold saltando in some memorable passages that further helped balance the sound. Sonata No. 4 was rather pacific; warm and friendly. However, it felt rather muted at times.
There were some instances, mostly in the first half, that felt overly restrained, but this in part may have been due to the violin sometimes being subsumed by the piano, not an ideal situation for a violin sonata needless to say. As a Beethoven lover, though, there was not much to find fault with here. By and large, Hadelich hit this one out of the park.
The CMNW Summer festival concludes Saturday and Sunday the 25th and 26th with the Concerto Festival Finale.