Above: Lisa Batiashvili and Giorgi Gigashvili; photos by André Josselin and Giorgi Kolbaia respectively.
~ Author: Oberon
Tuesday April 28th, 2026 – One of my all-time favorite violinists, Lisa Batiashvili, was joined tonight by pianist Giorgi Gigashvili for a recital at Zankel Hall. Familiar works by Beethoven, Prokofiev, and Franck flanked the US premiere of Josef Bardanashvili’s To Gia Kancheli (P.S.). I have so many beautiful memories of hearing – and watching – Ms. Batiashvili playing with the NY Philharmonic back in the days of Alan Gilbert’s presiding baton. They were so simpatico.
Looking as beauteous as ever, the radiant violinist took the stage with her towering young pianist. Mr. Gigashvili was rather casually dressed, but it suited his personality; later, as the encores commenced, he revealed another layer that further endeared him to the crowd.
The Violin Sonata No. 3 in E-flat Major, Op. 12, No. 3, of Beethoven opened the evening. The piece calls for great virtuosity; it opens grandly, with both players kept busy by the composer’s demands. At times, the piano seemed too prominent, but as the sonata progressed, a better balance emerged. A gorgeous central theme led to a da capo; applause at its end was a jolting, though understandable.
The restful air of the Adagio was introduced by the pianist, with Ms. Batiashvili’s violin commenting; the players then reverse roles. The violin sings poetically over rippling piano figurations; a rise of passion subsides. At times, the music feels improvisational. The concluding Rondo dashes onward, with some melodramatic inserts. Rambling scales from the keyboard lead to a virtuoso conclusion, with both players reveling in the composer’s demands.
Prokofiev’s Violin Sonata No. 1, penned over a span of years from 1938 to 1946, was said by the composer to have been inspired by Handel’s violin sonatas, with their slow-fast-slow-fast structure. Deep, darkish sounds from the piano and a series of suspenseful trills from the violin create a rather bleak atmosphere. There is a sense of longing, and then a passage of great power; imminent danger is suggested in the piano’s wanderings in the low register. Mr. Gigashvili produces massive sounds before subsiding into more scalework, which slowly fades away.
The second movement, marked Allegro brusco, brings a vigorous debate between the two players: banging on the keyboard, and slashing strokes from the violin strings. Things settle into a melodic flow, but then an emergency is signaled, and the music gets big and crazy. Peace is restored as Ms. Batiashvili soars on high, but the ending has a bustling feeling.
The Andante brings piano passages that are echoed by the violin. The music gets gorgeous, then ethereal. Haunting memories arise, and – after a unison passage – a chilling darkness settles over us. The sonata’s finale is a folk dance with an emphatic start which calms into a sweet tune, and then sails melodiously onward, with cunning little detours along the way. Ms. Batiashvili’s rapid plucking and Mr. Gigashvili’s restless pounding of the keyboard seem to herald a fiery finish; but instead, slithering scales lend a poignant air. This monumental performance by the two artists drew an excited response from the crowd.
Following the interval, Ms. Batiashvili returned to the stage: a vision in a vivid red gown, slit to the thigh, with red stiletto heels.
The new Bardanashvili work, To Gia Kancheli (P.S.), was having its US premiere this evening. It is a lovely memorial from one composer to another. Lasting only five minutes, the piece speaks of a multi-faceted friendship between the two composers; it was written especially for Ms. Batiashvili and Mr. Gigashvili. The opening mood is of loneliness: a touching elegy that springs from memories shared by two friends. But then, in a stroke of brilliance, the music turns jazzy – even sultry – with enticing bits of rubato thrown in. Played to perfection by Lisa and Giorgi, the short work made me want to explore more of Mr. Bardanashvili’s music.
César Franck’s Violin Sonata was the concert’s closing work. This wonderfully familiar piece draws mainly on two themes that are – once heard – forever etched on the memory. As so often when a beloved work closes an evening, I stopped taking notes and simply let the musical experience thrill me. Ms. Batiashvili and Mr. Gigashvili gave a perfect performance, exploring the music that veers from passionate power to heavenly quietude whilst bringing forth nuances that were new to me. What a revelation…!
The audience’s vociferous response guaranteed that there would be encores; when the players emerged for their bows, the pianist was sporting an I LOVE NEW YORK t-shirt, setting off more shouts of approval. The duo gave us three encores – each ravishingly played – which neither myself nor my companion recognized. Had they continued playing til the witching hour, we’d have stayed on…and on…
~ Oberon
Update: The encores were:
AZARASHWILI Nocturne (arr. for violin and piano)
DEBUSSY “Beau soir” (arr. for violin and piano)
KANCHELI “When Almonds Blossomed” (arr. for violin and piano)
Oberon's Glade 