The Strad December 2001
Brahms Cello Sonata in E minor,op 33
At the Cuarteto Casals’s coffee concert in the Wigmore Hall on 9 September, I was disturbed to see second violinist Abel Tomas come on stage first, I was ever more worried v/hen saw that he was going to lead in the first tern. When he actually started playing I was appalled, I heard what amounted to an insult to the music, Mozart’s ‘Dissonance’ Quartet, Tomás, an excellent second violinist, has neither the tone, nor the flexibility, nor the personality to lead what, up to now, has been one of the most promising quartet ensembles in the world. This silly idea, which came to the Casals players during the summer, is all the more inexplicable when n Vera Martinez Mehner they have such a superb leader, Sure enough, when she led in Brahms’s C minor Quartet order was restored and a lovely performance ensued.
To suggest that anyone can lead a quartet is as crass as to say that anyone can play second violin. Why stop there? Why not have the violinist and the cellist swapping places too? Let such ‘democracy’ be kept for domestic run-throughs or the rehearsal studio.
My two cellists this month were at very different stages of their careers, The BBC lunchtime concert at the Wigmore on the 17th, featuring the established pairing of Julian Lloyd Webber and John Lenehan, took place when we were all still reeling from the events in America.
The artists dedicated their Faure Elegie to victims of violence everywhere and the performance was worthy of the thought, Lenehan launching it with a sombre tread and showing throughout that the piano part was equal to that of the cello, not simply an accompaniment. Lloyd Webber was at his most committed.
The mood spilled over into Brahms’s E minor Sonata, which (pace Gerald Larner’s combative programme note) came over as very bleak and solemn, but memorable, for all that.
Then we had the first London performance of the Cello Sonata no.2 in which James MacMillan continued his assault on the pianos of the world; fortunately, the instrument was played with more finesse than it was in a performance of the First Sonata I heard recently. Despite an accident with the cellist’s music (he otherwise played from memory), the piece made a cohesive impression at a first hearing – written in a seven-section arch form, it is cleverly constructed. The composer was present to hear it very well played.
Richard Harwood, in a Kirckman Concert at the Purcell Room on the 24th, made a positive impression, although he needs to adopt a less apologetic platform manner (especially when coming on stage) and to learn his bread-and-buffer sonatas by heart. When he played Popper’s Hungarian Fantasy from memory as an encore, he was a different cellist.
That said, I enjoyed the renderings of Martinu’s Slovak Variations, Lutoslawski’s Grave and Beethoven’s A major Sonata — with some interesting effects in the latter’s Scherzo — that he and his superb pianist Dominic Harlan delivered. Brahms’s F minor Sonata was given rather a drawn-out, old men’s performance, without the mitigating circumstances of the somewhat sombre Lenehan—Lloyd Webber recital.
One could be forgiven for thinking that the title of Collegium Musicum 90, who gave a Wigmore Hall coffee concert on the 23rd, referred to the players’ age rather than their foundation year. They plodded through trio sonatas by Boyce and Arne without even the frisson of incompetence one used to get from period instruments. I enjoyed the plentiful tuning as much as the performances.
Simon Standage perked up in Handel’s D major Violin Sonata, producing good tone and articulation, but still had his nose buried in the copy. Then suddenly all four players threw off their rigor mortis for the same composer’s G minor Trio Sonata. Micaela Comberti, who had sounded like Sfandage’s shadow all morning, began to play out and harpsichordist Nicholas Pane raised his fingers more than a millimetre above the keyboard.
It took the Ondine Piano Trio from Denmark to make me wish to be back with Collegium Musicum 90 This hyperactive threesome came to the Purcell Room on 2 October trailing clouds of glory, having won every prize ‘n sight, most recently the Parkhouse Award.
Their Haydn C major no.27 was full of exaggerated dynamics and their playing quickly became predictable. Violinist Silk Heide did not match cellist Jonathan Slaatto’s phrasing and emoted so much all evening, it was no surprise that when he had to execute a slow pianissimo bow stroke, he tended to muff it.
As I heard the players overdoing every contrast in Beethoven’s ‘Ghost’ — and failing to catch the mood of the eerie Largo assal – I cast my mind back to the equally young Simer Trio who had played the same two works so much more naturally at the Wigmore recently.
And when the Ondine turned to the Brahms B major I really did wish the trio was underwater, as ifs name implied. Not only did the constant exaggerations become wearisome, but some of the playing in the second and fourth movements was plain ugly.
I was sorry to miss the Leonfoch Quartet (unable to get a flight out of the US) at the Wigmore on 16 September and hearing their Ukrainian compatriot Viktoriya Gregoreva there on the 26th was no compensation. After listening to her thick, ‘ill-tuned, unstylish playing of violin sonatas by Bach and Hindemith, I suddenly remembered a number of things I needed to do at home. Pianist Jill Crossland sounded rather good.
Thank goodness for Lenehan and Lloyd Webber. I say.
St Johns Concert – Brahms E minor Sonata
FEW CELLISTS of whatever age or celebrity produce such consistently true and opulent sounds as Julian Lloyd Webber. Only recently it was a misery to find a crude amplification system getting in the way of his natural sound when at the Festival Hall he played his brother’s lively set of Variations, but here at St John’s Smith Square, in the kindest of acoustics for the cello, we heard from him a display of velvet textures in every sonic colour imaginable.
The first half brought purposefulness in the Brahms E minor Cello sonata, Opus 38, but then with Simon Nicholls as his agile but discreet piano partner he went on to a set of romantic pieces, some inconsequential, some langorous.
The one frustration was that Rachmaninov’s Great Cello Sonata was represented only by the central slow movement, and that is a work which I suspect suits Lloyd-Webber’s ripely romantic style even more than the Brahms.
Above all Lloyd Webber is a cellist with an ability to persuade, and so it was not only in warhorse pieces like Saint-Saens’s ever-buoyant Swan but also in Mendelssohn’s late Song Without Words for cello and the stunning Elfin Dance of David Popper, which perfectly suited the vein of naughtiness which regularly leavens the playing of a potentially major artist.