RACHMANINOV; CHOPIN Cello Sonatas
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Rachmaninov, Fryderyk Chopin
Genre:
Chamber
Label: Decca
Magazine Review Date: 11/2015
Media Format: CD or Download
Media Runtime: 81
Mastering:
DDD
Catalogue Number: 478 8416DH
Tracks:
Composition | Artist Credit |
---|---|
Sonata for Cello and Piano |
Sergey Rachmaninov, Composer
Alisa Weilerstein, Cello Inon Barnatan, Piano Sergey Rachmaninov, Composer |
Vocalise |
Sergey Rachmaninov, Composer
Alisa Weilerstein, Cello Inon Barnatan, Piano Sergey Rachmaninov, Composer |
(27) Etudes, Movement: C sharp minor, Op. 25/7 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Inon Barnatan, Piano |
Introduction and Polonaise brillant |
Fryderyk Chopin, Composer
Alisa Weilerstein, Cello Fryderyk Chopin, Composer Inon Barnatan, Piano |
Author: Hannah Nepil
Inon Barnatan fits the bill, judging from this Rachmaninov and Chopin programme; it’s hard to imagine many cellist-pianist duos more mutually fond of risk-taking. They certainly don’t hold back in Rachmaninov’s Cello Sonata, often pushing it to the brink of breaking point. That’s what makes the first-movement climax so intoxicating, and why the second communicates with such fire-bellied urgency. But it’s at the opposite end of the spectrum that they really make their mark. In the third movement Barnatan finds a delicate songfulness to rival even Stephen Hough’s. And neither Mischa Maisky nor Natalie Clein can match Weilerstein’s sense of mystery in the first.
What emerges is an interpretation in which no single colour outstays its welcome. The same goes for Chopin’s Cello Sonata, whose sense of restlessness suits this duo well: just listen to them dart between the thunderous outbursts and the tranquil oases of the first movement. Then sample Weilerstein’s tone at 1'58" into the second movement, as it melts into something beyond recognition. Occasionally you feel they’ve missed a trick, for example in the reflections of the third movement, where cellist Alban Gerhardt and pianist Steven Osborne plumb greater depths. For the most part, though, this latest release leaves few notes unexamined.
That’s just as true of the smaller-scale works, in which Weilerstein and Barnatan reject received ideas. In Rachmaninov’s ‘Vocalise’ they avoid the predictable swellings that can reduce this piece to a hackneyed stocking-filler. In Auguste Franchomme’s arrangement of Chopin’s C sharp minor Etude they eschew over-indulgence in favour of honest simplicity. And in their hands Chopin’s Polonaise brillante sounds both poised and soulful, not just a piece of ‘glitter for the drawing room’, as its composer self-deprecatingly dismissed it.
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