PS Un “blogger” non è un oracolo e commette inevitabilmente errori (il minimo possibile..). Ricevo spesso “correzioni” non sempre fondamentali e non sempre precise. Così come io mi sottopongo al giudizio altrui con nome e cognome così chi vorrà avere la bontà di segnalarmi eventuali errori o imprecisioni dovrà farlo unicamente mandando un commento: a ognuno la propria responsabilità. In base alla nuova normativa chi si fosse iscritto e desidera de-iscriversi è sufficiente che mi invii un messaggio e-mail..

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There is a common denominator in the three sonatas: they are the only ones composed for the instrument (to be precise, Franck’s is the only one for violin and piano, which in this cncert was performed in Desart’s transcription, which is increasingly frequent in cello concerts).  These are sonatas extremely different for style and structure and the one that most follows the traditional structural canons is that of Rachmaninov. Debussy’s composition, while indicating three mouvements, has a completely innovative approach that fully reflects the musical world of the French composer. Franck’s sonata (which in the transcription for cello loses some of its spirit due to the more severe register of the bow instrument) is also subdivided into mouvements that do not have the traditional connotations. All three sonatas have in common the fact that they are milestones of cellist literature and a terrain that allows to fully evaluate the characteristics of the performers. The duo certainly has an excellent technique, proven by the technical difficulty of the programme.  In this context, the performance that was less brilliant was that of Debussy which lacked “madness” and improvisation, its main characcteristic. On the contrary, the performance of the duo was rather scholastic, failing to bring out the innovativeness and freedom of the sonata. Better certainly the beautiful sonata by Franck in which, however, while the piano score has remained practically the same as the violin version, the cello has struggled to emerge as a partner at the same level of the instrument with which it was paired. Given the cello register, it is necessary to have a great performance of the bow instrument in order to obtain an equality between the two instruments which was not the case. The performance of Rachmaninov’s  sonata on the contrary was very good, althoug the score clearly reveals the composer’s pianistic origin. But the duo was able to emphasize the late Romantic aspect of the piece performed, with the role of the cello finally at the height of the score. Excellent public success awarded with two encores: the “largo” of the cello sonata by Chopin (another “unicum“) and the transcription of a Lied by Brahms. 

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PS A “blogger” is not an oracle and inevitably makes errors (the minimum possible..). I often receive “corrections” not always fundamental and not always accurate. Just as I submit myself to the judgement of others with the name and surname so those who want to have the goodness to report errors or inaccuracies will have to do so only by sending a comment: everyone has his own responsibility.

Per un elenco aggiornato di tutti i precedenti  posts di questo blog con i corrispondenti links

PS  Vorrei ringraziare tutti coloro che inseriscono commenti  ai posts utilizzando l’opzione “Lascia un commento”  (o “commenti” se ne sono già stati inseriti) prevista nella sezione sinistra (o prima del testo per schermi ridotti come i tablets) dei posts stessi affinchè tutti possano leggerli.  Il dibattito è sempre interessante per tutti…..grazie (è indispensabile lasciare nome e cognome – i commenti anonimi non saranno pubblicati)!!