Nirvana via Classical Music Julia Fischer's Take on Perfection

Author: Hans Manzke

At its best, music can take you somewhere you wish you could be. Regardless of whether that's in your past, present or future, each note has the intrinsic ability to pick you up from where you are and put you down somewhere else. As a form of expression it exists alone. It can be coercive, enchanting, exhilarating, brilliant, enlightening, simplifying, self-deprecating, sublime, cathartic. Good music is medicine, best taken anytime, anywhere.

Those who attended Sunday afternoon's performance in the CFA concert hall saw a violinist firmly ensconced in the hallowed halls of bonafide prodigy. Julia Fischer performed with the New York Philharmonic in 2003, with Chicago Symphony and Carnegie Hall debuts already under her belt. On Sunday, Fischer whisked her way on stage with an air of confidence and aware affability belying her 20 years of age. Selections from Prokofiev and Mozart were handled with the utmost care and respect, both performed with flawless technique and startling panache. Playing entirely from memory, Fischer displayed fine mobility and dazzling range. She is supremely comfortable with her instrument, allowing her sound to fill the hall.

While all of her pieces were exercises in virtuosity, the highlight of her performance was her rendition of Edvard Grieg's Sonata No. 3 in C minor, opus 45. Fischer seemed to pour every ounce of her being into her effort, her face alternating between contorted expressions of utmost concentration and utter serenity. Her staggering ability only added to Grieg's masterpiece, resulting in seven minutes of classical beauty.

As my eyes wandered over the crowd, I saw six grown men drying their eyes. It is truly a privilege to have a gift powerful enough to be able to do this. Here, I remembered my own days playing the violin. I remembered picking up a violin for the first time in fourth grade, and putting it down for the last time last year. Fischer helped me realize that this art form is a true gift, one that should never be set aside.

When combined with Robert Kulek's piano accompaniment, Fischer's interpretation of Grieg's piece showed her audience that this arrangement has every bit of the strength and power of a full orchestra. The two instruments juxtaposed each other effortlessly. By nature, the piano is stoic, monolithic at times. It takes the right hands to bring the instrument to life. On the other hand, one must fight to make the violin prosaic. It lives, has emotions, is temperamental, runs, tiptoes, falls, sings and flies, sometimes at the player's behest, other times seemingly of its own free will. A good violin breathes, and there is no doubt that Julia Fischer plays a good violin.

On loan from the Nippon Music Foundation, the 1716 Stradivarius "Booth," is breathtaking and humbling to hear. It was a true paragon of the violin world in the hands of a true prodigy.

For great violinists, the instrument is merely an extension of the body. To achieve great heights, the player must treat her instrument as tenderly as a lover, ever conscious of the violin's ability to instantaneously impart joy and sorrow. Julia Fischer has the innate sensibility of self-awareness and a true love of the music that not all performers are fortunate enough to possess.

While her abilities seem to have paved her path in solid gold, Fischer's aesthetic prowess and commitment to her art form will ensure her continued success.