This recital of somewhat lessor known sonatas begins with Chopin’s Op. 65 in G minor.
Chopin’s last published work and final performance of anything in his lifetime is a remarkable essay of equals sharing the stage.
After a rhapsodic opening from the piano, the cello sings the theme in unforgettable utterances as the Allegro moderato lifts off. Pianist Vassily Primakov readily lights the fire before cellist Ben Capps ably brings the movement’s beguiling music to strong, artistic life. The second subject is a model of delicacy, eventually featuring pitch-perfect double stops (no small feat for some cellists). The proponents are clearly of one mind as the ongoing drama effectively builds. Sadly, the repeat is not taken. Still, as the development unfolds the ear can’t help but be drawn to the full range of both performers—Chopin pushing them along a marvellously sonorous path.
The ensuing Scherzo is playful indeed—just the tonic to the opening frame. The only quibble being the need for a touch more weight on the cadential resolutions. The calming Trio most certainly provides an ideal contrast, where the ensemble fits like a glove.
Capps readily leads the way in the brief Largo (Chopin proving succinctly that less is often more); his subtle portamenti are a model for others to emulate. Cellist and pianist artfully combine their lines to provide just the right amount of unwritten, but implied, hesitato. Still, those with headphones might be distracted by Capps’ breaths.
The impetuous Finale is a joy to “behear”, where the technical challenges are tossed off by both performers with deceptive ease. Everything leads to the extra energetic coda, bringing this final Chopin duo sonata to a very satisfying conclusion.
Also in G minor, Rachmaninoff’s cello sonata has little in common with Chopin’s except the instrumentation.
Lento – Allegro moderato (the longest of the four movements) begins artistic life imbued with thoughtful, hesitant lines and a surfeit of leading tones. But to where…? Soon “we’re off” in splendid form, the drama builds but offset with calmo in the second subject, producing, at times, a much-appreciated heavenly tone. Capps and Primakov combine as if one “instrument”. After the most welcome repeat is taken, the development moves onto harmonic explorations before an aura of nervoso adds to the tension, deftly punctuated by dry pizzicati. Soon, full-throttled passion entices the ear, then balanced by a dreamlike episode before uncertainty returns, ushering in an unrelenting finish that, without losing a beat, spills over into the initially menacing Allegro scherzando.
No worries, brief moments of relaxation quickly follow, featuring a series of marvellous harmonic shifts. The rest of this movement deftly pushes and pulls before the fire reignites, finally yielding to a searching coda.
The Andante provides a moment to reflect, at times conversational/contrapuntal where Capps and Primakov define the personification of “entre amis” before relinquishing to a long, heartfelt goodbye.
The overarching feeling of energized bravura in the closing Allegro mosso, feels like the composer is searching through various formats (including an unforgettable song without words) but belying the fact that he really doesn’t want his seemingly endless search to find its goal; otherwise, it will finish far too soon. That “problem” is overcome by the tolling pedal that tells one and all that the time is now here to say adieu. JWR