Page 100 - The Strad (February 2020)

RECORDINGS

e orchestra is superb in character, e change to a more unsettled
colour and
nesse, under the sensitive mood at the
rst movement’s
direction of Eschenbach. development section is expertly
In the Sonata op.119 Philippe conveyed by Vitaud, and this ability
produces a steady, lugubrious legato to ›uctuate between humours is
in the extended lyrical lines of the expertly used by both players in the

rst movement, and builds surely volatile
nale. eir scherzo is
to the gymnastics of the più mosso notable for its lightness and there is
ending. e central movement has heartfelt playing and lavish tone from
gentle levity and naivety, with the Julien-Laferrière in the Andante.
cellist again showing his graceful Denisov’s Variations on Schubert’s
way with Proko
ev’s melodic lines most celebrated Impromptu make a
in the Andante Dolce section, and curious
lling between the two
the
nale is amiable, with subtle and sonatas, the cello line weaving
understated sophistication. Tanguy dissonantly around the familiar piano The Fitzwilliam Quartet
de Williencourt is a superb partner. lines, often in very high tessituras. marks a 50-year milestone
e recorded sound of both works e recording is intimate, immediate
combines clarity and warmth. and clear, though occasionally when
TIM HOMFRAY high on the D string the cello sound material obtains an a ecting
is rather smothered by the piano. remoteness. A rare exception perhaps
JANET BANKS is a
rst violin/cello duet in no.14’s
SHOSTAKOVICH Cello Sonata in second movement, which the
D minor op.40 RACHMANINOFF Cello composer referred to as ‘the Italian bit’.
Sonata in G minor op.19 DENISOV SHOSTAKOVICH !9; ,8'' ;8-2+ e folksong-like cello tune that
!8-!ধ329 32 ! ,'1' #@ $,<#'8; <!8;';9V 23W -2 *!; 1-238 36W ¥U opens no.14 is suitably sprightly. By
Victor Julien-Laferrière (cello) 23W
-2
9,!86 1!/38 36W
U 23W contrast the muted
rst violin line
Jonas Vitaud (piano) -2 *!; 1-238T 36W

that closes the same quartet’s second
ALPHA 547 Fitzwilliam Quartet movement fades arrestingly into
Queen Elisabeth winner is completely LINN CKD 612 nothing. e players perfectly match
at home in Russian cello music )ষ2+ ;,f!22-='89!8@ each other in the hocketing e ect in
recording of late Shostakovich the last movement.
Victor Julien-LaFerrière, winner In the opening Elegy of no.15 the
of the 2017 Queen Elisabeth To mark its 50th anniversary, the players project slow-moving
Competition, brings a natural Fitzwilliam Quartet has re-recorded immensity, while the otherworldly
lyricism to these Russian cello works. Shostakovich’s last three quartets muted viola solo of the fourth
Shostakovich’s First Sonata starts o – whose
rst Western performances movement and the eerie gusts in the
in such a Romantic vein that it could were given by the ensemble. No.13
nale seize the imagination. e
almost be Rachmanino ’s. e (1970) was dedicated to the then recorded sound is immediate but
combination of portamento and recently retired violist of the spacious, with the instruments deftly
rubato at the magical moment Beethoven Quartet, and here features balanced. A gift all round.
where the cello melody reaches up the Fitzwilliam’s Alan George. He EDWARD BHESANIA
impossibly high is just perfect, makes a mark not least in the short–
though the ecstasy is short-lived short–long gestures that rip through
when the bleak, more obviously the sustained p chords in the
rst TCHAIKOVSKY Piano Trio in A minor
Shostakovian, piano march enters. movement. His booklet notes, 36W Y
2 '138@ 3( ! 8'!; 8ধ9;Z
e young French cellist plays incidentally, are generous and BABAJANIAN -!23 8-3 -2
9,!86
Rachmanino ’s Sonata with full- illuminating too. minor (1952) SCHNITTKE -(' >-;,
bodied tone and silky legato. e From the start, it’s evident that the an Idiot – Tango
duo observe every tiny dynamic Fitzwilliam has worked at removing Vadim Gluzman (violin) Johannes
and tempo marking meticulously, any hint of conventional Romantic– Moser (cello) Yevgeny Sudbin (piano) PETER SEARLE
while creating a relaxed sense of ›ow. lyrical expression, so that the melodic BIS 2372 SACD
98 THE STRAD FEBRUARY 2020 >>>W;,'9;8!&W$31