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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I had the chance to meet Sol Gabetta about twenty years ago when there were still concerts in Imola organized by the Circolo della musica.  Since then Gabetta has made a career of great and deserved success which has brought her to the top of the world of cellism, confirmed by today’s concert. A very talented artist who, together with her lifelong pianist partner, has produced a concert of the highest quality.  The first thing you notice about Gabetta is the sound. The cello is an instrument which due to its nature can make it difficult to produce a full and audible sound even at the back of the hall. This is not the case of Gabetta who extracts a completely unusual and high quality sound from the bow instrument. It goes without saying that she has great technique (not a single imprecise note) and that she instills in her performances an enthusiasm which, combined with great interpretative skills, allows her to produce a performance of great value. Even the choice of the program is not random: alongside great works (especially the beautiful and very difficult – for the cello – sonata by Brahms – but the works of the Hamburg composer for any instrument are always impervious, reflecting the complex personality of the author) the choice of two ethereal pieces by Rihm, a composer with whom she had a relationship of great value. And Widman – a little-frequented composer – was also a happy choice. It must be said of Chamayou that he is an excellent pianist who has a duo habit with Gabetta which is perceived in the ability of the two to integrate and merge with an uncommon balance. And – I repeat – the ability to extract sound from Gabetta’s instrument avoided the imbalance that often occurs with the piano. Perhaps the only case in which the sound of the piano was found to be somewhat excessive was in Mendelssohn’s concertante variations. But it can be considered a venial sin. Great success for a large audience (which is rare for a cello concert) and great success. An encore.

PS I would kindly ask the readers of this blog to  register  (which implies nothing) which can be easily made  by “clicking” the black square above each post. By so doing they will receive an e-mail message whenever a new post is published.

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)!!