In “Found Objects: Eyeglasses, Caprices, and Something Grotesque,” violist Caitlyn Lynch, and cellist Rafael Popper-Keizer opened with Duet in G Major, Op 14, No 1 by Vaclav Pichl (1741-1805). Stating that the piece is never performed, the duo set out to give it its due. And indeed, on December 16^th at Music Mondays, charm and cheeriness reigned. Tunes traded between the two instruments with articulation and dynamics carefully observed. Noticeable was how sensitive each instrument was to its assigned role, both receding into the background when in a supporting role, despite, as was often the case, having more notes to play than the lead. Movement 2 is a stately Larghetto and 3, a Rondo in 6/8, to which the performers imparted a joyful and gay swing.

Lullaby and Grotesque by Rebecca Clarke (1886-1979) is slow and tender with a melody that moves in thirds and fourths. Despite a certain amount of dissonance. tenderness prevails. Both artists lingered over the poignancy of a rising arpeggio which led to the final pianissimo cadence. The motifs in Grotesque moved by leaps and were punctuated by double stops, usually of minor intervals. The varied texture brought to mind the sounds of the city and a section marked “Vigoroso” possibly evoked the dawn of modern travel. Lynch and Popper-Keizer put their virtuosity on full display, each executing rapid shifts in atmosphere with ease.

Popper-Keizer gave us Caprices 1 and 4 from 11 Caprices for Solo Cello by Joseph Dall’Abaco. Opening with the interval of a 10^th, Caprice 1 brought to mind the Prelude from J.S. Bach’s first Cello Suite. Amazingly, transition or bridge material (m. 24-30) brought the same Prelude to mind. Although their dates overlapped it is very unlikely that the two composers ever met or became acquainted with one another’s music. Popper-Keiser imbued both Caprices with stateliness and gravitas. I might have asked for a few more playful moments, but overall the performance captivated.

Anne Leilehua Lanzilotti’s (1983-) Ko’u inoa explores her Hawaiian heritage. Lynch vigorously brought out the rhythm, harmony and bowing technique (barriolage) that the composer specifies. In addition she gave the directive “with sound” instructing the violist to sing at given moments. Lynch created color by placing the bow against the bridge or over the fingerboard. Her low vocal tones added to the shimmering resonance, ultimately evoking nature, and a feeling of infinite space.

Inspired by Polish folk music and transcribed by the composer from the original piano version, Witold Lutoslawski’s Five Bucolics, offers short studies in texture and color. Violist and cellist brought out the moods perfectly. Staccato motifs open the first number. When interrupted by a short dolce episode, the rapid change in mood was captured effectively. IV is possibly the darkest of the group, a mood communicated through the deep resonance of Popper-Kaiser’s cello and the woody sound of the viola. Viola and cello parts are often in contradictory meters, yet Lynch’s and Popper-Kaiser’s mastery ensured that the flow felt coherently smooth and the ensemble matched perfectly. The final movement brought back the rambunctious feel of the first.

A jovial mood permeates Beethoven’s Duet With Two Eyeglasses Obligato, WoO, causing one to speculate that the “eyeglasses” refers to an amateur cellist (Nikolaus Zmeskall) who was a friend of Beethoven’s. The viola opens with a cheerful eight bar theme that the cello picks up. Something of a chase ensues, with fragments played by one instrument and then the other, until they unite. The players’ tones tone and texture matched beautifully. Popper-Keizer dispatched light and fluid arpeggios (m. 18-21), while the viola’s cantibile moments possessed a deep resonance that equaled any sound the cello produced. A moment of melodic unity (m. 107) transpired with hushed reverence, epitomizing the spirit of camaraderie that obtained throughout.

Boston music lovers are familiar with these two artists through their regular appearances with the conductorless orchestra, A Far Cry. What a treat to hear them as a duo and as soloists! We look forward to more.

Retired medical biology researcher Dinah Bodkin is a serious amateur pianist and mother of Groupmuse founder Sam Bodkin.