Russian Music for Cello and Piano
Nikolai MIASKOVSKY (1881-1950)
Cello Sonata No 2 in A minor, Op 81 [23:18]
Alexander SCRIABIN (1872-1915)
Etude Op 8 No 11, arr. Piatigorsky [4:09]
Alfred SCHNITTKE (1934-1998)
Musica Nostalgica [3:27]
Sergei PROKOFIEV (1891-1953)
Adagio from Ten Pieces from the Ballet Cinderella, Op 97b [3:56]
Sergei RACHANINOV (1873-1943)
Cello Sonata in G minor, Op 19 [34:01]
Wendy Warner (cello); Irina Nuzova (piano)
rec. 27-30 October 2008, Fay and Daniel Levin Performance Studio, WFMT Radio,
Chicago, Illinois, USA
CEDILLE CDR 90000 120 [68:49]
Wendy Warner is one of our most intelligent, cultivated cellists, and after
praising her superb recital of romantic pieces by David Popper and Gregor
Piatigorsky, I was ready to lend an ear to whatever music she chose to offer
next. As it happens, this new full price recital of music by Russian composers
is less immediately accessible, and less showy. In the long run, though, it
may prove even more rewarding.
The big change from the last disc is that Warner has a new recital partner,
Russian pianist Irina Nuzova. The pair seem absolutely ecstatic to have come
together; one line from their booklet blurb had me pitying Warner’s
former pianist, Eileen Buck: “Cellist Wendy Warner and pianist Irina
Nuzova achieve a rare artistic synergy in performance together. The melding
of the musicians’ contrasting cultures and traditions is at the core
of the energy and insight of their interpretations.” Except that this
actually seems to be true. Nuzova has contributed a commendably smart and
enthusiastic essay to the booklet introducing the recital’s centerpiece:
Nikolai Miaskovsky’s Cello Sonata No 2.
It is not a demonstrative sonata. In fact, as Nuzova says with great precision,
“something that does not glitter can still be gold.” Unshowy and
lacking in the stereotypically “Russian” traits of vibrant rhythm
and bright colors, the sonata actually feels closer to Brahms in its gentle,
matured melancholy. Nuzova even supplies a poem, “Wordlessness”
by Konstantin Bal’mont, which perfectly captures the spirit of the sonata:
“Deep quiet. And wordlessness, utterly peaceful. / The meadows spread
out faraway and forever. / In everything - weariness, muteness, and bleakness.”
Not a piece that glitters, then. But with each listen I have found it more
rewarding, as an undemonstrative, unsentimental look back at an earlier time.
The comparison to Brahms looms large in my memory; it is autumnal music which
draws you in over time.
The Rachmaninov cello sonata is a work which glitters as the Miaskovsky does
not. Wendy Warner has quite the personality as a cellist, so the piece does
not, as it sometimes does, sound like a piano sonata with cello accompaniment.
Warner and Nuzova’s romantic style, with flexible tempi and gorgeous
sweeping phrasing, is a perfect fit for this music, especially the glorious
“big tune” in the finale, and the deeply felt andante,
in which we hear again just how strong, and equal, this partnership is.
In between the Miaskovsky and Rachmaninov, we are treated to three short works
by three more composers: Piatigorsky’s arrangement of one of the most
lyrical (and least hysterical) of the Scriabin etudes, Schnittke’s “Musica
nostalgica” with its agile leaps across whole centuries of styles, and
a short extract from Prokofiev’s Cinderella. This trio makes
a pleasing palate-cleanser between the two main courses.
Clear, intimate chamber-hall sound and the excellent booklet notes by Andrea
Lamoreaux and Irina Nuzova - as well as two poems selected by Nuzova - complete
the package. My only qualm is about the cover and inside photos; Warner’s
previous recital CDs for Cedille and Bridge did not seem to feature photographs
as sexualized as these. The duo unfortunately look as though they have spent
more time on their makeup than they have on the music - false, of course.
Is this the only way to sell Miaskovsky? I hope not.
In the meantime, I will continue to anticipate new releases from the exciting
duo of Warner and Nuzova. They are a pair to watch not because they make for
attractive album covers, but because they bring skilled, passionate playing
to intriguing programs. That’s exciting enough on its own.
Brian Reinhart
A deeply felt recital of a Russian favorite and some works which deserve better
renown.
see also review by Jonathan Woolf