Violinist Shows Her Command of Styles

Nadja Salerno-Sonnenberg, one of the more visible and gifted of young American solo musicians, continues to gain recognition. She returned to a local recital stage Sunday afternoon, solidifying her reputation for technical accomplishment, though failing to connect deeply with all the music on her program.

In Veterans Wadsworth Theater in Westwood, the 35-year-old violinist made attentive listeners of a virtually full house; the audience hollered and yelped its approval. Assisted by pianist Sandra Rivers, the fiddler showed her effortless technique and command of musical styles.

Rivers is a worthy partner, yet she seems unable to draw the best out of her colleague. More sparks and more concentration are needed. As neatly as it was performed, this recital emerged more dutiful than communicative; the violinist projected all the music sympathetically but impersonally.

The best was last: a virtuosic run-through of Richard Strauss’ E-flat Sonata, Opus 18, a work that can prove overlong and under-inspired. This time around it seemed quite engaging, as well as nonchalantly tossed-off. Salerno-Sonnenberg’s controlled soft-playing in the slow movement turned out to be the most touching music-making of the afternoon.

A recurring lack of individuality colored the otherwise pleasing performances: Beethoven’s Sonata in A, Opus 12, No. 2, in the Poulenc Sonata and in Paul Kochanski’s transcription of Falla’s “Suite Populaire Espagnole.”

Four encores closed the event. They were Rachmaninoff’s Vocalise; the Prelude No. 1 by Gershwin; Prokofiev’s March from “The Love of Three Oranges”; and Saint-Saens’ “The Swan.”