Expressive Harmonies in the Legacy of the 19th Century
The Società del Quartetto entrusted the talents of two very young instrumentalists on Monday evening. Kainrath and Lazzari performed pieces written by Mendelssohn, Grieg, and Franck. The two musicians demonstrated great harmony with the works of Norwegian composer Edvard Grieg, adeptly supporting an almost rhapsodic expressiveness. This assertive approach culminated in the sonata by César Franck, a composition that heavily involves the pianist, yet it is the eloquence of the violin that weaves the narrative of the musical story. In this, Kainrath was invaluable.

Julian Kainrath, 2022 Discovery Award winner, kicked things off with the Westdeutsche Sinfonia under its musical director Dirk Joeres, playing Max Bruch’s First Violin Concerto. Julian began Max Bruch’s Violin Concerto briskly and grippingly, without pathos but expressively, very spontaneously and in permanent dialogue with the orchestra, from which he was noticeably inspired. In the slow movement, there were fervently sung passages of moving expressiveness. In the dance finale, the 18-year-old soloist was just as confident and highly virtuosic. Kainrath shaped the melodies with youthful freshness and inspired with his integrity, thoroughly dynamic play.
The audience in the Leverkusen Forum was enraptured and gave the soloist as well as the orchestra and its conductor long-lasting applause, for which Julian Kainrath thanked with a Bach Sarabande.

The violin of Julian Kainrath, a prodigy in technique and sound
Prodigious musicians still exist. We listened to one at San Pietro in Monastero for Ristori Baroque. In the Verona program, he tackled some of the compositions for solo violin composed by Bach […], considered today as masterpieces of instrumental production for the violin, including the famous Chaconne. These are pieces that can be interpreted as musical dialogues despite the absence of a literary text for the gestures of spoken voice that develop in multiple speakers and translate into music. In this understanding and clarity in the dialogues lies the prodigious dimension of this almost nineteen-year-old. Certainly, he has a unique and full-bodied sound, but it’s the musical intelligence that is capable of returning melodies to the musical phrases, filled with infinite inflections from the changing dynamics, like verses of a multi-voiced poem that constitutes the true mastery of his interpretation. With astonishing virtuosic technique, as in the Doubles of the first suite, i.e., the variations that enriched with acrobatic agility the conduct of the bass of each of the four dances from which it is composed.
Kainrath captivated in the Chaconne, the last dance of the second suite built on the association between theme and variations. An execution to be taken as an example from the standpoint of sound and technical perfection, great elegance, and expressive intensity. The success was enthusiastic, also from some prominent musicians present in the hall.

In the impetuous reading of Brahms’ Third Sonata, Kainrath took a lot of risks, starting with the choice of tempi, but he also demonstrated a dense, full-bodied sound and an elegant and fresh cantabile, with a very appropriate sobriety.

In the second program item, the audience was treated to a particularly outstanding performance. The 16-year-old violinist Julian Kainrath from Merano, winner of the Discovery Award, not only gave a brilliant rendition of the Introduction and Rondo capriccioso by Camille Saint-Saens, but also, despite his young age, knew how to give this work a very personal interpretation, after which one can hope for much more to come from this true artist

The evening saw Canadian Louis Lortie at the piano, recognized among the greatest world performers, in duo with Julian Kainrath, seventeen-year-old violin prodigy recently awarded the International Classical Music Award … the concert provided moments of sublime music, thanks to the synergy between the two performers, which deeply moved the audience in the hall.

“Certainly, he has a unique and full-bodied sound, but it’s the musical intelligence that is capable of returning melodies to the musical phrases, filled with infinite inflections from the changing dynamics, like verses of a multi-voiced poem that constitutes the true mastery of his interpretation.”

The palms were due to the 13-year-old Julian Kainrath, who confidently performed Sarasate’s Gypsy Airs …so much came over his instrument!

When your mouth stays open while you watch because your eyes can no longer follow the nimble fingers, when sounds go straight to your heart, when, like at the recent concert on Saturday evening in the Haus der Musik, you are presented with so much solo skills… then you will undoubtedly have experienced a superlative evening of music […] And what Julian Kainrath produced from his violin during Sarasate’s gypsy tunes was almost breathtaking.

The young South Tyrolean has such an organic connection to his instrument, and such a stupendous technique and musicality