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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For some time now, long‑established cellists have been striving to broaden their repertoire, since the instrument’s “classical” literature is objectively limited. Perhaps the first and most famous to do so was Yo‑Yo Ma, who today pushes his interpretations into the realms of world music and even jazz. Brunello has been following a similar path for several years, for example by using the “violoncino” or by opening his repertoire to lesser‑known composers, with mixed results. This is confirmed by today’s concert, in which Ustvolskaya’s piece stands out in this regard: besides its highly impactful sonorities, it even requires a specific arrangement of the instruments and—at one point in the suite—the use of a double‑bass bow instead of the traditional cello bow. The result is objectively quite debatable, at least to the ears of the present writer, but any assessment must remain suspended, as a balanced judgment would need to consider a broader range of compositions. The rest of the program featured some of the best‑known works, starting with Beethoven’s sonata, whose fugue—even to a modern listener—can feel somewhat challenging (perhaps also the product of the German composer’s increasingly advanced deafness), while the cantabile second movement is exceptionally beautiful. The same can be said of Šostakovič’s sonata, which has now rightly become a repertoire classic. Here the Russian composer’s poetics find their finest expression, especially in the dialogue between the two instruments. Weinberg’s sonata is perhaps a bit less compelling, as the cello “solos” are so extended that they almost make one forget the presence of the piano. As for the two performers, the evaluation is uneven. Brunello still displays remarkable technical ability and a sound of great beauty, with vibrato that is always full and harmonious; even in the most demanding passages he maintains masterful confidence. Truly excellent, without hesitation. A different assessment applies to Andreeva who, ever since her disputed victory at the 2010 Chopin Competition, has shown a good degree of professionalism but nothing more. The impression conveyed by the concert is that the two musicians are not (yet?) a well‑matched duo and possess differing levels of musicality. Warm audience reception and a Tchaikovsky encore concluded the evening.

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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)!!