Sonata for Arpeggione and Piano in A minor, D. 821 (1824) [25:35]
Robert SCHUMANN (1810-1856)
Fünf Stücke im Volkston, Op. 102 (1849) [16:37]
Claude DEBUSSY (1862-1918)
Sonata for Cello and Piano (1915) [10:39]
Benjamin BRITTEN (1913-1976)
Sonata for Cello and Piano in C, Op. 65 (1961) [21:30]
Gautier Capuçon (cello); Frank Braley (piano)
rec. Salle Colonne, Paris, France, 20 July 2013 (Schumann); Markus-Sittikus-Saal, Hohenems, Austria, 1-3 December 2012 (all others)
WARNER ERATO 9341582 [74:29]
Cellist Gautier Capuçon has included a note in the CD booklet
stating that he and pianist Frank Braley wanted to pay tribute to two
twentieth-century legends, Mstislav Rostropovich and Benjamin Britten.
Thus, they recorded the same works their illustrious predecessors put
down for Decca in the late 1960s and early 1970s. The obvious task for
this reviewer was to compare the new recordings with those of Rostropovich
and Britten. Overall, I find Capuçon and Braley in no way inferior
to those legends.
Capuçon waited until now to record the Schubert Arpeggione Sonata
because he had not felt up to the task before. Having played Schubert
trios and quartets for the past ten years, he now was ready to record
the sonata with Braley with whom he has worked for a long time. Based
on the account here, it has been worth the wait. Next to Capuçon
and Braley, Rostropovich and Britten sound rather heavy and too deliberate.
It is not just a matter of tempos, though the latter team are nearly two
minutes slower in the first movement, but of approach to the music. I’ve
long preferred Yo-Yo Ma and Emanuel Ax in this sonata because they play
it simply and beautifully without overdoing the Romantic aspects of the
work. The duo here now make the Ma/Ax performance sound just a little
plain with its more restricted dynamic range. Nevertheless, I will want
to hear them from time to time. On the other hand, Rostropovich and Britten’s
interpretation is overstated compared to the others. The cellist’s
tone is gorgeous but he seems to dominate the proceedings more than he
should. Capuçon and Braley are somewhere in the middle. They bring
out the Romantic ardour of the piece well and with just enough rubato
to make it interesting, but without distorting the rhythms. They are a
true partnership, too, with the cellist not overly dominating the work.
That said, Capuçon’s cello playing is wonderfully songful
and beautiful. This work was not originally intended for the cello. However,
since the arpeggione for which it was composed had such a limited life,
it is most often played on the cello. I think it suits that instrument
well because of its range, rather than the more limited viola on which
it is also performed.
The Debussy Cello Sonata is one of three chamber sonatas from late in
the composer’s life. It packs a lot of material in its short duration
and is both whimsical and enigmatic. Debussy initially considered calling
it “Pierrot angry with the moon”, owing to his preoccupation
with the figures of the harlequinade. It has always been one of my favorite
Debussy works along with the Violin Sonata and Sonata for Flute, Viola
and Harp that comprise the other two sonatas of this period. Capuçon
and Braley likewise have the measure of this sonata. It receives as good
a performance as I have ever heard, including the wonderful Rostropovich/Britten
account. It is possible Capuçon’s being French had a positive
effect, for in addition to the power he provides a certain winning elegance.
Schumann’s Pieces in Folk Style are from the composer’s productive
year of 1849 before his mental state completely deteriorated and his attempt
at suicide. From the mood of these pieces with their freshness and originality
one would not guess that Schumann was in such a fragile state. These miniatures
are for the most part lighthearted with the first piece marked “with
humour”, followed by a lullaby, a ballad, a march, and a zesty finale.
Rostropovich and Britten are indeed hard to beat in this work. I find
their slow movements so songful with Rostropovich’s rich cello tone
bringing utter perfection to these pieces. Capuçon and Braley are
no slouches either and do justice to this work, but even in the faster
movements, such as the finale, there is a certain joy in Rostropovich/Britten’s
account that is infectious. I don’t want to overemphasize this because
Capuçon/Braley are very good.
The disc concludes with the Cello Sonata Benjamin Britten composed for
Rostropovich, for whom he also wrote his three Cello Suites and Cello
Symphony. While the Rostropovich/Britten recording retains its authoritativeness,
there have been more recent versions that have challenged but not surpassed
them. Such is the recording under review here. In the first movement Rostropovich/Britten
are a bit faster and more lyrical, while Capuçon/Braley are more
assertive - even aggressive at times. Rostropovich’s playing in
the second movement, Scherzo-Pizzicato, is guitar-like, while Capuçon’s
pizzicato is more reminiscent of Bartók in the Music for Strings,
Percussion and Celesta. Capuçon/Braley are heavier and darker in
the third movement Elegia with their tread being very Slavic and
reminding me of Shostakovich. By contrast Rostropovich/Britten are warmer
with the piano less prominent, but with exceptionally sensitive playing
by both artists. The same is true for the fourth movement march that is
spiky and eerie with excellent dialogue between Rostropovich and Britten.
Capuçon/Braley are not as incisive and a bit heavier, but also
excellent as a team. Both teams contribute a very exciting finale and
neither disappoints in any way. Another recording of the Britten I reviewed
here by cellist Jakob Koranyi and pianist Peter Friis Johansson (Caprice
Records) is also fine with superb sound. We are quite spoilt for choice
when it comes to Britten’s Sonata.
Although the programme duplicates Rostropovich/Britten, I heartily commend
this disc for all lovers of cello/piano music. Capuçon and Braley
give superb performances of these works, which are representative of the
composers’ oeuvre. The recorded sound is close, but not at all claustrophobic,
with sufficient space around the instruments. In addition to Capuçon’s
note there is a good discussion of the works. One anomaly in the listing
of the pieces is that Schubert’s sonata is given as in A major
rather than A minor. All the references I have seen have it in
the minor key in which it begins.
Leslie Wright
Britten discography & review index: Cello
sonata
Support
us financially by purchasing this disc from |
|
 |
 |
 |
|