Π Π
- Paris, Salle Cortot, January 25, 2011
- Brahms, excerpts from Four Pieces, Op. 119: No. 1, Intermezzo in if minor, No. 4, Rhapsody in mid flat major (a); Sonata No. 2 in F sharp minor, op. 2 (b); Sonata for Cello and Piano No. 2 in F major, op. 99 (c)
- Alberto Casadei, cello (c)
- Daria Kameneva, piano (a, b)
- Federico Colli, piano, (c)
Homecoming with Tuesdays from Animato, I had left in the lurch last season, discouraged by inflation as scalded by Asian the verdict of the 2009 competition - it seems that the edition last December has been little brighter. But Animato is a mild drug to which we always come back, because entrance is free, because the Salle Cortot is a delightful place to sound almost ideal, because the benefits of Marian shrines Rybicki are irresistible, especially because there is necessarily Every season, at least a few pianists that we want to hear again, or whose term draws attention a priori. That Tuesday combined the two appeals: one student 23 years of the Tchaikovsky Conservatory, and the return to Paris by Federico Colli, who is with Daniil Tsvetskov, Mariangela Vacatello Slava Kiselev and one of the pianists I most Popular on Tuesdays 2008-2009, including competition (and therefore among thirty other young people).
Kameneva Daria made a mixed impression awakening but a good dose of sympathy. It presents a slice plot of the attributes of the student Moscow model, to the exclusion of the other bit: that is to say that in terms of attitude (in the position, relative to the instrument, the report almost passive driving music) which is very healthy, it offers everything one would expect of a product of the elite of the Russian team. However, it does not really what in most of his classmates, is willy-nilly as a consequence of this base characteristic strength confident in itself . So a strange cohabitation of relaxation and fragility, quality and technical basis of its vagueness living Thurs The cohesive clearly suffers, the more strongly it's Brahms, but I am yet impossible not to want to save what can be vis-à- screw that way to play the piano, and this way of making music (the two are inseparable, of course). The intermezzo was very difficult if however minor suffers more from lack of pure transcendental piano, especially since Kameneva ventured here with a dangerously slow tempo for which it lacks sufficient length of notes. Rhapsody is its most interesting despite the fragility of travel, because it never forces his power natural (limited but sufficient especially Cortot) and offers to hear clearly the harmonics of the steps of Madness part.
The same qualities and the same limitations are exacerbated in the terrible 2nd Sonata, which is at least reduced to a boil or sound or a series of meaningless episodes. Almost everything happens on the wire at the edge of the rupture, but the speech and sentences are exposed from the second movement (also taken with a hold risky, but paid and well treated), the absence of voluntarism and Letting go still paying more in the scherzo (the trio could not be more sober, so noble) and in the finale, despite the lack of technical accomplishment thereof. At least no one wonders why there not Kameneva plays the enigmatic coda: it seeks not only made back-psychology and simply drop to the bottom of the hole, which is certainly the most significant proceed. What a pity - through frequent and exasperating Tuesdays - he was forced to remove half of the opus 119 for ridiculous reasons of timing: especially as the central intermezzos would have probably agreed well.
Federico Colli, who is now 22 years old, continues to grind in various small rooms but sparing his repertoire he chooses always visible - including the remarkable 24th of Beethoven and Prokofiev's 7th he had played two years ago on the same scene. But it has since broadened his training chamber with two very prominent, Boris and Konstantin Kultanshky Bogino (the superb pianist of the Trio Tchaikovsky) and in 2008 formed a duo with cellist an older, Alberto Casadei. He has played since 2005 in the Mozart Orchestra founded by Abbado in forming simultaneously with no less than Natalia Gutman. At Imola, it is actually a duet with Colli evolving under valuable advice Bogino. Provided that this engraving Italian fashion also plays the cello well as its course suggests, everything was convened to win at least honor the terrifying Sonata in F major. Bet for taking part, but I did not anticipate one detail: to listen for cellists force that on special occasions as well as chamber concertos, in other words to only listen to famous cellists, one forgets a hazards that pianists have (too) to stand, which is the quality of the instrument. I do not know what one of Casadei, but I especially want to find out, and it would be desirable, at least for him, a benevolent benefactor offers him a worthy play a cello sonata by Brahms concert pianist with a good ...
It is not so much beauty here the sound (in this case ...) and wealth of harmony projected, thus balancing voices with piano. More so than Colli, as it should, moreover, is planning for its generous obviously little intimidated by the score. More or less on purpose so we do we hear a real piano and cello sonata, as it is, after all, written in the title. But we will not attempt to or could judge the performance of Casadei under these conditions worsened by the conditions of listening: when we face up to the balcony of Cortot, a small decrease compared to the height, it makes even less strings and more piano ... At least do I could fully appreciate the quality of tone, warmth, fullness mastered one of Colli, who was perhaps even enhanced. I know all generations, relatively few pianists who also takes advantage of a smart morphology limiting - he who, I believe he worships Sokolov must fight every day to learn the science of permanent rebound without loss of density : but of course, he knows how to fight, and does so in the right direction. Pianistically, I did not hear any obvious weakness in this Brahms, otherwise at the start of the third movement where it is, rather, I think, the concentration has been lacking during these few measures of rhythmic flutter. For the rest, the qualities of sound and articulation, combined with a sense always tempting to simply set the sentence (giving evidence in the finale, and especially the second theme I so often here and massacred almost ideal) . As for the cello, he met a few minor difficulties in the I accuracy, curiously less in the finale, however, too weak-willed, and is especially interesting in the middle movements - despite the obvious impossibility of playing pizzicato on this beautiful instrument.
Generous, the two young fellows offer two reminders extremely successful: the slow movement of Chopin's sonata and especially the rare and irresistible Introduction and Polonaise Brillante op . 3, which can be found here own testimony to show that Federico Colli has something to distinguish it from the mass of young talent - the mere fact of playing naturally singing ranges, for example: to turn it around, how many pianists would be able to listen earnestly concentration and this piece only by the quality of their game? It was here, of course, few references in the ear, but afterwards, I did not find qu'Argerich less interesting, and held to a strict classicism here makes it worth all the greater.
The next time, hopefully, an evening of top notch luxury.
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .
The same qualities and the same limitations are exacerbated in the terrible 2nd Sonata, which is at least reduced to a boil or sound or a series of meaningless episodes. Almost everything happens on the wire at the edge of the rupture, but the speech and sentences are exposed from the second movement (also taken with a hold risky, but paid and well treated), the absence of voluntarism and Letting go still paying more in the scherzo (the trio could not be more sober, so noble) and in the finale, despite the lack of technical accomplishment thereof. At least no one wonders why there not Kameneva plays the enigmatic coda: it seeks not only made back-psychology and simply drop to the bottom of the hole, which is certainly the most significant proceed. What a pity - through frequent and exasperating Tuesdays - he was forced to remove half of the opus 119 for ridiculous reasons of timing: especially as the central intermezzos would have probably agreed well.
It is not so much beauty here the sound (in this case ...) and wealth of harmony projected, thus balancing voices with piano. More so than Colli, as it should, moreover, is planning for its generous obviously little intimidated by the score. More or less on purpose so we do we hear a real piano and cello sonata, as it is, after all, written in the title. But we will not attempt to or could judge the performance of Casadei under these conditions worsened by the conditions of listening: when we face up to the balcony of Cortot, a small decrease compared to the height, it makes even less strings and more piano ... At least do I could fully appreciate the quality of tone, warmth, fullness mastered one of Colli, who was perhaps even enhanced. I know all generations, relatively few pianists who also takes advantage of a smart morphology limiting - he who, I believe he worships Sokolov must fight every day to learn the science of permanent rebound without loss of density : but of course, he knows how to fight, and does so in the right direction. Pianistically, I did not hear any obvious weakness in this Brahms, otherwise at the start of the third movement where it is, rather, I think, the concentration has been lacking during these few measures of rhythmic flutter. For the rest, the qualities of sound and articulation, combined with a sense always tempting to simply set the sentence (giving evidence in the finale, and especially the second theme I so often here and massacred almost ideal) . As for the cello, he met a few minor difficulties in the I accuracy, curiously less in the finale, however, too weak-willed, and is especially interesting in the middle movements - despite the obvious impossibility of playing pizzicato on this beautiful instrument.
Generous, the two young fellows offer two reminders extremely successful: the slow movement of Chopin's sonata and especially the rare and irresistible Introduction and Polonaise Brillante op . 3, which can be found here own testimony to show that Federico Colli has something to distinguish it from the mass of young talent - the mere fact of playing naturally singing ranges, for example: to turn it around, how many pianists would be able to listen earnestly concentration and this piece only by the quality of their game? It was here, of course, few references in the ear, but afterwards, I did not find qu'Argerich less interesting, and held to a strict classicism here makes it worth all the greater.
The next time, hopefully, an evening of top notch luxury.
NB: the Brahms sonata is (almost) heard on the site Animato.
Theo Belaud
little concertorialiste by Theo Belaud is available under the terms of the Creative Commons Attribution - Noncommercial - Share Alike Alike 2.0 France .
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