2 Sem 2015 - Part Two

Sol Gabetta
Prayer



By James Manheim
The fast-rising Argentine-Swiss cellist Sol Gabetta took the name of this recital from the "Prayer" movement of Ernest Bloch's From Jewish Life, which she has performed as an encore to great success and to an obvious emotional reaction from audiences. She went in search of similar music, found the path partially trodden by Pablo Casals, and put together a program that is actually quite novel -- of the music on the album, only Bloch's Schelomo (track 10) is really common -- and yet seems as though it's always been there. Tribute is paid to Casals not only in the emotive playing, but in the presence of El Cant dels Ocells (The Song of the Birds), one of several Casals compositions deserving of more frequent performance. The most unusual entry here, and perhaps the least successful one, is the selection of pieces from Shostakovich's song cycle From Jewish Folk Poetry, arranged here for cello and orchestra by Mikhail Bronner. It seems to be part of the general mood, but it's not; despite the theme, it's pure postwar Shostakovich, and Gabetta doesn't quite catch its note of tension. The much-recorded Schelomo, however, fares very well here, even with a switch in orchestra, venue, and conductor. As usual, a bracingly fresh program from this charismatic and intelligent cellist.
Tracks:
- Bloch, E
From Jewish Life
Schelomo
Nigun (Baal Shem No. 2)
Méditation hébraïque
- Casals
El Cant dels Ocells (Song of the birds), with the Amsterdam Sinfonietta
- Shostakovich
Lullaby (from From Jewish Folk Poetry, Op. 79/79a), arranged for violoncello & string orchestra by Mikhail Bronner
A Warning (from From Jewish Folk Poetry, Op. 79/79a), arranged for violoncello & string orchestra by Mikhail Bronner
The Song of Misery (from From Jewish Folk Poetry, Op. 79/79a), arranged for violoncello & string orchestra by Mikhail Bronner
The Young Girl’s Song (from From Jewish Folk Poetry, Op. 79/79a),arranged for violoncello & string orchestra by Mikhail Bronner

Performed by Sol Gabetta, cello, with the Orchestre National de Lyon, Leonard Slatkin conducting.

Leonidas Kavakos & Yuja Wang
Brahms - The Violin Sonatas



By Robert Roy
It's taken a long time for Kavakos to be snapped up by a major record company after years of making modestly promoted discs for smaller companies such as BIS. (His recording of the Sibelius concerto in it's original and revised forms is one of the best performances of this much recorded masterpiece). His outings either Decca have, so far, been outstanding with a thought provoking Beethoven sonata set and a wonderful Brahms concerto with Chailly. However, I do wonder if he has been 'marketed' into this latest venture. (I'm trying to imaging the 'suits' discussing this 'concept'. "Okay, we need a new recording of the Brahms sonatas. Lots of great names have recorded them so is there anything we can do to put our disc at the top of the heap?" "I know - let's team up our latest signing with Yuja Wang. She's making a big name for herself. Let's show that she can 'do' chamber music too". "Great idea".)
Kovakos appears to be approaching these works with almost a period instrument frame of mind. Vibrato is kept to a minimum, bowing appears to have been calculated to the millimetre, (how I wish he would just SING now and again) and there is a feeling of austerity to his playing. As for Ms. Wang, well, we know that she can play BIG when she wants to but here she seems to doing her very best to keep a lid on her temperament.
The first movement of the G Major sonata has moments of idiosyncrasy. The second subject melody seems, to me, to be starved of feeling. You can almost hear Kovakosis' fiddle and bow begging to be released from their disciplined straight jacket. The pizzicato chords are most odd where the violinist accompanies the pianist. Korvakos spreads them slowly so that the top note sounds late.
Actually, another problem has already become apparent although I accept it may bother some listeners more than others. I obviously don't know if Kovakos had a cold or not when he and Yuja Wang recorded these between Christmas and New Year 2013 but, my goodness, he sniffs! It's really distracting and, while I appreciate he has to breath, this is up there with Glen Gould's 'vocalise'!
The second movt. is much better with some gorgeous double stopped playing from Kovakos. And I've heard lots of things in the piano part I've not heard before. (Surely the reason for buying yet another recording of these immortal masterpieces!). The last movement, IMHO, lacks a little of the wistfulness and regret that this music needs.
In conclusion, perhaps I've heard too many warmly romantic performances from, amongst others, Oistrakh, Perlman, Mutter, Zukerman and Mr. Heifetz to name but five great names to fully respond to this approach but I DO know that, despite my reservations, I'll be returning to this disc again and again to investigate its unique approach.