Cello Playing Supreme!
by
Lyn Bronson
The very first sounds we heard
coming from the cello of Lynn Harrell convinced us that we were in the presence
of someone who is not merely a cellist, but a great musician who just happens to
be a cellist. Nothing he does is for effect, but rather renders and spins
musical ideas in the loftiest manner. Pianist Gavin Martin, listed in the
printed program as “accompanist,” a rather demeaning term, played an important
role in this recital presented by the Carmel Music Society, for in all the works
heard in this program, he was an equal partner, and in some instances much more
than equal (for, after all, Beethoven, Brahms and Chopin were great
pianists). By any measure, it was a happy partnership and it produced fine
results.
Opening the program with
Schubert’s “Arpeggione” Sonata we heard playing that was as elegant as it was
stylish. Cellists are faced with a great deal of awkward writing in Cassado’s
transcription for cello, but Harrell made light of the awkwardness and made us
unaware of the inherent difficulties. In the brief slow movement we were charmed
by Harrell’s exquisitely masterful phrasing. No matter how many times you may
have heard this sonata, on this occasion Harrell’s gorgeous playing revealed new
beauties. Pianist Martin proved to be a fine and sensitive ensemble partner, not
afraid to play out when his part was dominant or recede into the background when
the cello was ascendant.
Next on the program we heard
Beethoven’s last cello sonata in D Major, Op. 102, No. 2. This is a sonata that
seems full of violent and challenging ideas, a work so full of explosive jagged
shifts from one register to another, that at times in the first movement it is
as difficult for the audience as it is for the performers. Pianist Martin,
playing a big role here, reinforced Harrell’s performance with spectacular
virtuosity. The remaining two movements were more successful than the first with
elegant and exciting playing weaving a magic spell.
After intermission we heard a
richly detailed and pleasing performance of Brahms’ Sonata in E minor, Op. 38.
Some of the most extraordinary playing of the evening was heard in the second
movement, Allegretto quasi Minuetto, which had a lovely lilt and
spellbinding magic that was irresistible. Harrell’s playing was utterly
convincing and totally charming. Pianist Martin found just the right mood and
played with graceful ease and a nice sense of style. The last movement of this
work, Allegro fugato, was a whirlwind of energy that strains the
resources of both the cello and the piano. Harrell and Martin played with
extraordinary abandon and sustained the tension and excitement right up to the
last notes of the movement.
Perhaps the most surprising
piece on the program for most listeners was the concluding work, Chopin’s
Introduction and Polonaise brillante, Op. 3, for this is a piece
rarely heard on CD or in live performance. Not in the style of the mature
Chopin, but an early work full of glitter (especially in the piano part) and
reminiscent of the salon music by fashionable Parisian composers like
Kalkbrenner. Although it may be a shallow piece, it was fun for both audience
and performers. Harrell was once more spectacular in the way he navigated so
easily through the virtuoso cello writing and managed to make so much music in
the process. Pianist Martin had a great time zipping all over the keyboard, and
it was noted that he had memorized many of the passages. This piece was
delightful, and the audience enjoyed it immensely.
After a standing ovation, the
musicians returned to the stage and gave us one encore, a transcription for
cello and piano of one of Schubert’s songs, Nacht und Träume (Night and
Dreams) that was lovely
