BY SAMUEL COTTELL
Musica Viva International Concert Season 2015
Steven Isserlis (Cello) and Connie Shih (Piano)
City Recital Hall, 13 June
In a program featuring some of most renowned and engaging French music of the 19th Century, as well as an Australian premiere of a new piece by Thomas Adès, this recital was a virtuosic feat ranging from soft, tender moments to episodes of ecstatic jubilation.
Cellist Steven Isserlis and pianist Connie Shih combined their musical sensibilities to present Saint-Saëns’ Sonata No.1 in C minor, exploring the work in more depth than I’d heard before. From my vantage point, it was somewhat difficult to hear the piano part for the first movement. But by the third movement, Shih was demonstrating her interpretive abilities, never being too cautious with the demanding part, and firmly and clearly stating the nuances of the musical themes.
Fauré’s Cello Sonata No.2 in G minor, written when the composer was deaf and nearing the end of his life, contains many vigorous passages. Both Isserlis and Shih engaged with these musical energies, their legs and arms moving about in a dancelike fashion, giving the fast movements even more propulsion. A stand out was the second movement, originally a funeral march, in which Isserlis caressed the melody and sent it gently to the attentive audience. Time nearly stood still as each of the players projected with elegance this deeply lyrical and poignant composition.
The first half of the concert concluded with an Australian premiere of Adès’ ‘Lieux retrouves’ (Rediscovered Places). Isserlis explained that Adès was a fan of writer Marcel Proust (who was able to capture, in words, the essence of places). Perhaps with a pair of critical eyes, Adès subtly manages to capture four different places another person might not see. Isserlis addressed the audience to explain, in detail, each movement of the work. Stating that the work was almost unplayable certainly put me on edge, but only for a brief moment – of course Isserlis can play anything. The first movement ‘Les Eaux’ (The Waters) was stunningly performed by Isserlis and Shih. The rippling effects on the piano were accompanied by the dancing cello line. The third movement, ‘Les Champs’ (The Fields) saw Isserlis play the cello to its highest notes; his tone and approach still remained lyrical and tender as though the instrument were not being played to its extremities. The grand conclusion of Adès’ work was ‘La Ville (The City): cancan macabre’, a re-imaging of Offenbach’s ‘Can Can’. This virtuosic romp saw both musicians pushed to their limits, but they delivered a stellar performance.
Concluding the concert was César Franck’s Sonata in A (originally written for violin and piano and transcribed for cello by Jules Delsart). This was the first time I’d heard this transcription. At times. the cello seemed too heavy an instrument for the moments of counterpoint. Nevertheless, Isserlis’ playing was inspired. He would often arch his neck as if to look up to the heavens while playing with lyrical tenderness. The energetic final movement ended with Isserlis staring at the audience with a look of passion and fire, an apt way to conclude such a program.
Having just heard Franck’s sonata, with its extensive use of cyclical compositional techniques, it was fitting to provide an encore of Saint-Saëns’ Romance in F, beautifully played and creating a symmetry to the end of the recital.
Image supplied. Credit Keith Saunders.
