Katarzyna Zliminska and Ian Tindale

Katarzyna Zliminska and Ian Tindale, Chichester Cathedral, Nov 19

One could believe it was the peaceable kingdom, not the troubled outpost of Europe under the tormented mind of a  ramshackle Prime Minsiter. As mundane as you like, through the westest part of West Sussex by leisurely bus, there are enough Liberal Democrat boards up to suggest that affluence doesn't inevitably induce selfishness and insularity. If I could do this every day, retirement would be an effortless pleasure.
Beethoven's Violin Sonata no.8 in C begins in some agitation from which melodic lines emerge before the second movement is haunting and songlike moving into waltz time like Mozart in the Palm Court. In the Allegro Vivace, one notices Ian Tindale's efforts on the piano given a more even share of the action with Katarzyna's fluent violin. It was engaging from the beginning and the 'minuet' alerted me early to come back and check out the Beethoven Violin Sonatas and not just no.8 because these days if I'm going to have one, I want them all. Katarzyna isn't particularly showy or flamboyant but concentrates on the job in hand with great musicality and compelling enjoyment.
If Mozart carries forward, always much more than one imagines, into Beethoven then Beethoven carries forward into Brahms but by then there's not much sign of Mozart. Brahms was actually my second composer, having provided the B side to my first ever record purchase, Mozart 40 by Waldo de los Rios, with the slow movement of the second symphony. I've never forgotten it.
The Violin Sonata no.3 in D minor has the same challenge that Brahms faced in following Beethoven but in miniature. It's a great shame that Brahms felt a bit inadequate in his shadow, as did so much of the C19th, which is the collateral damage of such colossal figures.
More strident in its opening, as if needing to make its presence felt, Ian is soon providing gentle rain in the right hand and by the time of the Adagio and the third movement, one wants the broad,
long-lined theme never to be ruined by being taken up by a film or TV soundtrack so we can keep it for ourselves. It is con sentimento and deeply moving. With suggestions of Paganini and a passionate Presto agitato to finish, Brahms has more than stood his ground and Katarzyna and Ian have delivered them both in thrilling style to give us plenty to think about.
Two Miniatures by the great Fritz Kreisler were by way of the encore included on the programme, virtuoso pieces given with panache, Katarzyna reaching the very top of the fingerboard having explored its complete length in the Tamborin Chinois, in which the Chinese references were obvious enough, after La Gitana, which I was not surprised to find translates as 'the gypsy' because 'Jewish' and 'gypsy' were the two words I surreptitiously noted on my envelope during what might have been a medley of what could be short showtunes. And if you're going to play Kreisler you are going to need to be a bit flash.
It was a fine climax to my self-curated mid-November music festival but sadly one must now rest as Chichester has to do all its advent things and it's two months until the next lunchtime concert. I can't say how glad I am that they do them.
Having used the bus this time, one can be out and at the cathedral bus stop for 2.07 to see the 700 come round the corner. Despite all the things we might say about public transport, Chichester's lunchtime concerts even have that in their favour.
And now it's time to see who has recorded those sonatas and who can get them here soonest.