|
From
Strings Magazine, April 1999, No. 77
RECORDINGS
Cello World: Steven Isserlis, cello; Thomas Adès,
piano; Michael Tilson Thomas and Dudley Moore, pianos; Maggie Cole, harpsichord,
piano; Felicity Lott, soprano (BMG Classics 09026 68928 2)
The 18 tracks of Steven
Isserlis’ aptly named CD feature compositions by as many composers
in this album, one that sets out to answer the question Isserlis poses
in the first line of his absorbing album note: "Why do so many people
from all around the world love the cello above all other instruments?"
The cellist’s enormously virtuosic and highly infectious tour through
offbeat repertoire (which nevertheless seems to sum up the range of expression
possible on the instrument) provides an uncommonly eloquent answer.
I’m evidently one of
the last converts to the playing of this adventurous artist, who seems
equally adored by audiences and colleagues, but my surrender was complete
well before Isserlis and harpsichordist Cole completed their substantive
journey through the cellist’s own arrangement of Beethoven’s
Andante con Variazioni. The mere fact that he joined forces with an artist
of the stature of Adès–the wunderkind of English composers
today and a powerhouse pianist–speaks to the reach of the project,
and their collaboration on Villa-Lobos’ "Song of the Black Swan"
alone, all swirling figuration from the pianist and skating portamentos
from Isserlis, provides testimony to the power of their alliance throughout.
French, Russian, and Eastern European composers from this century and
last provide the bulk of the music, none of it over-familiar, all of it
welcome, and, thanks to Faber’s publication of much of the music
in its book Steven Isserlis’ Cello World, a good deal of it
is likely to turn up in recitals from now on.
The contributions of the
other musicians find them in characteristic form. The real startler is
the amplified cello playing of David Pereira, the dedicatee of Australian
composer Carl Vine’s arresting "Inner World," a duo for
live and prerecorded cello. Isserlis’ acoustic cello part is breathtaking,
but his retention of Pereira’s original recording, computer-manipulated
by Vine, is a characteristically generous tribute to a colleague–and
a testimony to the vitality of this indeed special instrument.
–Timothy Pfaff
Return to Top
Kreisler: Kennedy (EMI 7243 5 56626 2 0).
This record displays
Kennedy (formerly Nigel Kennedy) in all his paradoxical aspects: the flamboyant
showman in the title, which contradicts his avowed, honest admiration
for Kreisler; the angry rebel in his program note, which attacks music
writers, the music and recording industry, and society in general; and
the fabulous violinist and serious, dedicated musician in his playing,
which, on recording as in his concerts, instantly makes you forget all
his eccentricities (see In Person, February/March). With pianist John
Lenehan, an admirably flexible and supportive partner, the program includes
familiar Kreisler pieces, both original and transcribed, and one of his
most famous Baroque fakes, the "Pugnani" Preludium and Allegro.
Kennedy plays with consummate flair, ease, virtuosity, and warm affection
for the music; his infinitely variable tone shimmers and glows; and his
charm, humor, and imagination are captivating. He identifies with every
national idiom and exhibits an extraordinary empathy for Kreisler’s
style without in the least imitating him. The booklet proclaims that all
these pieces were "recorded real live–no cheating." The
program also features Kreisler’s String Quartet, rarely played although
he himself regarded it highly. Kennedy clearly shares that esteem; his
performance, with three excellent partners, clarifies its busy chromatic
texture and brings out its charm without making the Viennese kitsch sound
cheap. As in the less felicitous transcriptions, the playing triumphs
over the music.
–Edith Eisler
Return to Top
The Weiser Reunion: Benny and Jerry Thomasson (Voyager
309 424).
For many, Texas fiddling
is three tunes packed into four minutes in front of a respectfully quiet
contest audience. There is actually a good deal more to it, as this album
attests. Texas fiddling is also hanging out with family and friends and
trying out new ways of playing old tunes. Under these conditions, melodies
are explored several times through, expanding their pitch and rhythm possibilities
while remaining within the vague boundaries of traditional fiddling.
Benny Thomasson was the architect
of a new way to approach fiddle music (along with several Texas peers,
such as Major and Lewis Franklin). He was a willing and beloved instructor
to an amazing number of current professional fiddlers, most prominent
of them being Mark O’Connor. Weiser-chronicler Brooks Otis had his
tape recorder handy when Benny, with son Jerry on four-string tenor guitar,
set up a jam session at the campground at the Weiser, Idaho, fiddle contest
in 1972.
This was a relaxed atmosphere
in a completely unrehearsed situation, with Benny taking mighty whacks
at standards ("Wagoner," "Soppin’ the Gravy,"
"Sally Johnson") and lesser knowns ("Apple Blossom,"
"Hotfoot," "Twinkle Little Star") among the 20 cuts
on the CD. This kind of setting meant taking musical chances and, in a
few occasions, missing, but that also is what Texas fiddling is about.
By the time of this recording,
Thomasson had generally slowed his tempos, apparently as the result of
back problems. There are no commercially available performances of him
in his prime, but it was during this latter period that he had his greatest
influence by far. Many a great fiddler has drunk deeply from this
fountain, and for good reason. Now find out why.
–Stacy Phillips
|
