I am sure Hungary’s Bernadett finds her success in the music world especially satisfying. It’s not a vindication of her talents alone but, perhaps, she views her blossoming success as justice of a sort for her grandfather and, maybe, a continuation of what he set out to do. Jozsef B. Suha, violist and composer, captured the hearts of early 20th century Hungarians with his popular songs and outstanding instrumental prowess. However, one of his greatest artistic goals, earning the opportunity to tour the world at large with his music, eluded him when he quarreled with the Communist authorities then governing the nation. He did not realize his goal and soon found his career and public reputation in eclipse.
Redemption is an especially fitting title for her release. The title song embodies that word with instrumental excellence that’s never self-indulgent. The singular focus on the melody I hear in the title song “Redemption” has an ethereal effect without ever sounding inaccessible. Touches such as the piano running throughout the track layer nicely with Bernadett’s violin. The drumming for this track possesses the right amount of snap and energy giving it driving urgency.
There’s definitely a feeling of deliberateness surrounding “For You”. It never sounds belabored though. Bernadett’s arrangement follows a cumulative template, never laying everything out at once for listeners but, instead, building the song in a piece-by-piece fashion. It’s a rousing success. “Redemption” achieves a low-key grandeur, never pompous or inflated, but it’s enough to scoop listeners up and carry them away.
The title song has so much to offer listeners. She’s careful to not over-extend herself with either song and tailors her vocal nuances to a fine edge. I easily connected with the melody and heard the backing track as near note-perfect accompaniment. Don’t mistake these observations, however, as signaling the song is a bloodless affair. There’s surging emotion present in Bernadett’s violin playing, but she is smart enough to orchestrate it into a series of peaks and valleys.
Her playing is exceptional enough to draw in listeners who normally dismiss instrumental music. One of the keys responsible for this, in my belief, is the incredible vocal qualities Bernadett’s violin has. It’s the equivalent of a singer for these tracks and there’s ample counterpoint spread throughout both songs to keep things balanced. It, likewise, reflects a level of engagement with the material few modern artists equal and the production for these songs frames her presentation in the best possible way.
It’s the result of a musical journey beginning at age six, taking flight in adolescence, and showing no signs of slowing down. Bernadett has a long road ahead of her, without question, and it is a little staggering to consider what she’s capable of in light of such an auspicious start. Redemption is short, but the title song she’s chosen for this release is memorable fare. It shows she’s one of the brightest indie talents emerging in recent years and there’s no apparent limits to what she can accomplish.
Chadwick Easton