Violinist Bernadett Releases REDEMPTION
I confess that when you say “Hungarian violinist” to me I think classical music. I am far from alone in this. Hungarian virtuoso violinist Bernadett saw those preconceived notions, among others, from the outset and understood that the struggle to overcome such assumptions should be an immediate priority. Classical music, arguably her first love, has languished in widespread popular disfavor well over a century now, associated with elitism above all else. The great unwashed hoard has long since flocked to the far simpler and thus accessible territory of the three minute pop song and has less time and patience than ever for anything more involved.
“Redemption” lives up to its title. There is an intense emotional outpouring from both of these performances and, for newcomers, encountering Bernadett’s presentation of her violin playing will be an electrifying experience. She observes no traditional rules of playing the instrument, per se, and has a clear physical relationship with the body and strings that few of her peers share. It is unlikely that live musicians are supporting her during the recording, but I can’t say for sure. It doesn’t matter, however, as the marriage of accompanying music with her lead violin is ideal from beginning to end.
Bernadett thankfully resists any temptation for self-indulgence. You can hear a self-assured intelligence presiding over the arranging of both tracks without ever hearing too obvious of a hand in the song’s execution. Everything feels natural and fleet-footed despite the likely pre-programmed backing. There are some sections where that sounds more pronounced than others. The tightly wound arrangement never makes a misstep, and its focus mitigates any longing you might have for traditional instruments.
If that does not work, however, Bernadett’s violin will make you forget. She plays like a woman possessed during this song and blazes through one passage after the next with purpose. I don’t hear her misplace a single note as well. The gymnastic qualities of her playing never distracts from the melodic excellence in the heart of this song. She understands that, above all else, it is a memorable melody that unlocks listener’s heart and opens them to a song’s possibilities.
Redemption is full of potential and possibilities. I believe she’s just started melding classical and pop together and expect anything she puts out in the future to build on what we’re hearing with these songs. “Redemption” has the right length, it never drones on too long, and that discipline will stick with her. I expect anything she releases from this point forward will have a clear purpose rather than meandering.
She wants to blow you away. Every night or song can’t be a home run, but don’t tell Bernadett that. The title song from her forthcoming release is geared towards providing listeners with a transformative experience rather than just more empty-headed entertainment. She’s looking to make music that will last and Redemption is definitely a huge step in that direction. We’ll look back on it one day as an important chapter in a special story.