O. Kern and V. Mullova Aug. 1 in Weill

SUNBEAMS ON THE FESTIVAL DEL SOLE FROM THE FAR NORTH

The Festival del Sole, long a summer fixture in Napa Valley, moved in August to the Green Music Center and launched its first concert August 1 with three Russia-born musicians playing not a note of Russian music.

International star pianist Olga Kern, who played the Grieg Concerto recently with the Santa Rosa Symphony, was joined by virtuosos Viktoria Mullova (violin) and cellist Nina Kotova in an oddly mixed program before 350 in Weill Hall.

Ms. Mullova opened with Bach’s “D Minor Chaconne” from the Second Partita, an unusual beginning choice. It was wonderfully played with generally fine intonation, in an approach between the full-throated vibrato-laden interpretations of the previous generation and a more modern, leaner approach. The sound all through was rich with easy fluency, quick trills and a natural rise and fall of phrase. Everything was perfectly in place.

Franck’s seminal violin sonata was then played by Ms. Kern and Ms. Kotova in the Delsart transcription for cello. Ms. Kern returned with Liszt’s “Tenth Hungarian Rhapsody,” her powerful octaves never failing. Voice balance was good, right hand scales occasionally not clear, but the interpretation had spark, and the sparkling glissandos seemed to erupt from the piano. A two-hand descending glissando was featured in Ms. Kern’s earlier Debussy “Prelude Feux d’Artifice” performance, her explosive chords and accurate skips always magisterial. She eschewed a light touch in glissandos.

Eight duos from Bartók’s 44 pieces for violins (1931) were played here by Ms. Kotova and Ms. Mullova, one of the evening highlights and perhaps a North Coast debut. These were splendid readings, from the opening sawing, swaying Lento with a gentle last bar, to a fast and spicy Allegretto and the brief Lento where Ms. Kotova’s instrument sang out. Number 35 (Allegro) had spooky high register violin sound, a beguiling cry, with a faultlessly played ending. Rustic folk rhythms were splendidly conveyed.

Ms. Mullova and Ms. Kern concluded the concert with the D Minor Brahms Sonata, Op. 108. From score, it was a convincing reading that was a bit underplayed until the finale. Ms. Kern’s bass heavy piano part never covered and in the widely spread instrumental lines there was ample clarity. Pizzicato was always piquant, the memorable themes nobly singing out.

Playing in the Adagio was beautifully shaped, the violin’s double stops effective and a surprise and compelling use of portamento up to the high double stop third, perhaps the movement’s astral moment.

First-movement passion returned in the Presto finale where the violinist swelled characteristically on individual notes, the interpretation containing a quiet anger that often burst forth. A reading not for the timid.

A standing ovation ensued with two curtain calls, but no encore was forthcoming.

Daniel Greenhouse contributed to this review.