Page 99 - The Strad (February 2020)
P. 99
RECORDINGS
e nal work, Raptures, has some playing – musical personalities. e shaping every phrase with the kind of
lovely soloistic moments for strings particularly dramatic ‘La Couperin’ intuitive insight normally reserved
and bears Hancock’s hallmark expert was probably written in memory of for bona de masterpieces. e most
orchestration, in themes that are the great harpsichordist, while ‘La famous of the series, op.54 no.2 in
always big on appeal. Bright and Leclair’ recognisably reects the E major, features a rollicking
crisp recorded sound all adds to virtuoso violinist’s style. ‘La Buisson’, polonaise that in the wrong hands can
the enjoyment. a thumbnail of the composer’s (even at a shade under ve minutes)
CATHERINE NELSON brother-in-law, makes for a swinging seem interminable, but here dances
conclusion to this well-planned and along so infectiously one can hardly
excellently recorded recital. keep one’s nger o the repeat button.
MARAIS Pièces de viole CARLOS MARÍA SOLARE is is an absolute joy from
FORQUERAY Pièces de viole start from nish, captured in sound
Julia Karpeta (viola da gamba) Anton where the ne balance between
Birula (theorbo) Krzysztof Karpeta OFFENBACH 6 Cello Duos textural clarity and tonal ambience
l=-3£! &! +!1#!m !8;! -'&৷>-'$0!T from opp.51–54 is perfectly judged.
!<8@$@ !$A@क़90@ l,!869-$,38&m !=-'8 ,-££-69T 22' !9ধ2'£ l$'££39m JULIAN HAYLOCK
NFM ACD 259-2 LA DOLCE VITA LDV 71
31639'8 $316'ধ;389 Cello duets from opéra comique
$316£'1'2; '!$, 3;,'8 1<9-$!££@ $31639'8 ;,!; !8' !2 !#93£<;' /3@ PROKOFIEV Sinfonia Concertante
-2 ;,-9 >'££f6£!22'& 8'$-;!£ in E minor op.125; Sonata in C major
Since Oenbach is celebrated for cello and piano op.119
is Marais miscellany has been principally for the insatiable 8<23 ,-£-66' l$'££3m !2+<@ &'
taken from the last three of the melodiousness and joie de vivre of -££-'2$3<8; l6-!23m
8!20(<8;
composer’s ve books of pièces for his nearly 100 operettas, it is easy !&-3 @16,32@ 8$,'9;8!c
viola da gamba and continuo, to overlook the fact that he started ,8-9;36, 9$,'2#!$,
published in Paris in 1711, 1717 out as one of the nest cellists of HARMONIA MUNDI HMM 902608
and 1725. e selection includes the his generation. Even in an age of £37<'2$' !2& *!-8 1!0' ;,'9'
usual dance movements (allemande, super-virtuosos, his talent was such +'2'83<9 6'8(381!2$'9 ! 1<9;f,'!8
sarabande, gigue and the like) as well that at his peak he appeared in
as a few vignettes, ‘La Mariée’ ( e concert alongside the likes of Anton Bruno Philippe plays the opening
Bride) a particularly charming one. Rubinstein, Felix Mendelssohn and paragraph of Proko ev’s Sinfonia
Julia Karpeta is very much at home Joseph Joachim. Concertante in a full-toned generous
in the music’s idiom, dispatching the Between 1839 and 1855, sweep. Soon after, he weaves the
most complicated embellishments Oenbach published six volumes of complex, multifaceted cello writing
with consistent clarity and aplomb. duos for two cellos under the title into a compelling narrative with an
She draws a lean, silvery sound from Cours méthodique (‘Methodical easy ow, the long melismatic passages
her viola da gamba, and I would only tutor’) in ascending order of uent and eloquently shaped.
carp at some occasionally obtrusive diculty, labelled A to F. Cast in the He scurries splendidly through the
application of vibrato. In most pieces, standard Classical three movements, semiquavers that open the second
the continuo is realised just with climaxing in an invariably dazzling movement Allegro giusto, and the
theorbo, giving the music an nale, these predominantly light- up-bow staccatos are bone-dry but
agreeably intimate character. hearted vignettes could hardly wish always tonally focused. e great
e Marais groups are separated for more distinguished advocacy than central melody is beautifully played,
by elaborate character pieces by they receive here from Xavier Phillips and Philippe brings theatrical air to
his colleague – and rather rabid and Anne Gastinel. the double-stopped cadenza. He
competitor – Antoine Forqueray, It goes almost without saying tackles the formidable technical
said to have been a ‘devilishly good’ that, technically speaking, these challenges in this long coruscating
player, just as Marais was an ‘angelic’ performances are clean as a whistle, movement with aplomb. ere is
one. Published posthumously in yet what continually seduces the ear plenty more virtuosity to come in the
1747, they are eloquent musical is a sense of the combined joy these nale, in which Philippe brings out
portraits of contemporary – non-viol distinguished musicians share, Proko ev’s grotesquerie and humour.
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