Amidst the frost and fog of a July evening, audiences gathered at Canberra Grammar School’s Snow Concert Hall for an immersion in an evening of musical imagination. With the warmth of the hall contrasting against the crisp Canberra air, violinist Leila Josefowicz and pianist John Novacek transported listeners through a program that was as technically dazzling as it was emotionally rich. Indeed, the night was a journey filled with colour, storytelling, and moments of fairy-tale wonder.
Claude Debussy’s Sonata for Violin and Piano in G minor was a fitting opening choice, immediately establishing the expressive range of the evening. A familiar work for many concertgoers, the challenge of performing such a celebrated piece lies in finding something new within its well-known melodies. Josefowicz and Novacek achieved this through a performance that was both graceful and deeply expressive. From the opening movement, the pair demonstrated an extraordinary sense of musical conversation, with violin and piano moving together in perfect synchronicity. Josefowicz’s rich tone and elegant phrasing brought warmth and vibrancy to Debussy’s impressionistic writing, while Novacek’s playing provided a colourful and sensitive foundation. The dramatic crescendos of the first movement were particularly captivating, building a sense of anticipation that left the audience on the edge of their seats. Across all three movements, the musicians embraced the work’s shifting moods, moving effortlessly between moments of tenderness, whimsy, and intensity.
Photo: Alex Jamieson
Karol Szymanowski’s Myths, Op. 30 continued the evening’s exploration of magical sound worlds. Written in 1915, this impressionistic work immediately transported audiences into a dreamlike landscape, with Novacek’s opening piano lines creating an atmosphere of mystery and wonder. Josefowicz’s violin seemed to embody the mythical qualities of the piece, weaving between delicate harmonics, extended techniques, and intricate descending patterns. The work’s fairy-like character was enhanced by the remarkable interplay between the two musicians, who captured both its intricacy and its sense of enchantment. Through graceful phrasing and extraordinary technical control, Josefowicz and Novacek firmly transported the audience into Szymanowski’s musical mythology.
The Australian premiere of Charlotte Bray’s Mriya offered a striking contrast while remaining connected to the concert’s overarching theme of imagination and storytelling. As Josefowicz explained in an introduction to the piece, Mriya translates to “dream”, “vision” or “ambition” in Ukrainian. The piece explored the tension between beauty and darkness, reflecting the devastating realities of war while maintaining a sense of hope. Josefowicz’s opening violin lines immediately established this emotional complexity, at times sounding fragile and mournful, before expanding into moments of striking intensity. Through techniques such as sul ponticello, which creates a metallic and translucent quality, Josefowicz revealed new possibilities of colour within the instrument. Bray’s composition demonstrated the power of music to tell stories without words, and the performers captured every layer of its emotional journey from destruction and uncertainty to a quiet call for peace and light.
The evening concluded with Igor Stravinsky’s Divertimento from Le Baiser de la fée (The Fairy’s Kiss), the work that gave the recital its title and provided a fittingly energetic finale. Performed entirely from memory, Josefowicz’s mastery of the violin was on full display as she navigated the work’s rapid changes of mood and character. The piece’s playful rhythms and vibrant energy brought a sense of movement to the hall, with Josefowicz and Novacek appearing to dance alongside the music rather than simply perform it. Their enthusiasm was infectious, and the audience remained captivated until the final note, responding with an enthusiastic applause that reflected the sheer enjoyment of the performance.
Throughout the evening, Josefowicz and Novacek demonstrated not only exceptional technical ability but also a remarkable sense of musical storytelling. Their playing was filled with drama and precision, yet also with a lightness and joy that allowed each work to shine. From Debussy’s expressive landscapes to Szymanowski’s mythical visions, Bray’s poignant reflections and Stravinsky’s sparkling finale, the musicians transformed Snow Concert Hall into a place of imagination and wonder. On a cold Canberra night, The Fairy’s Kiss provided exactly what audiences needed: a reminder that music has the extraordinary ability to warm the spirit and transport us somewhere magical.
Leila Josefowicz and John Novacek performed The Fairy’s Kiss on 9 July 2026. The concert will be performed in Sydney on 20 July 2026.
