Tag Archives: Sergei Rachmaninoff

Thibaudet & Capucon: An Astonishing Performance

Gautier Capucon, ‘cello, and Jean-Yves Thibaudet, piano, presented a duo recital, December 2, 2018, at Davies Symphony Hall, which was in every way great. Each is technically above brilliant. Their musicality opens new experiences of being in the music. The program selections were outstanding, presenting sonatas that reflected the composers’ greatness and differing characters.

Jean-Ives Thibaudet

Gautier Capucon

Claude Debussy (1862-1918)  Claude Debussy’s Sonata No. 1 in D minor (1915) was an eye-opening visit to Debussy’s imagination and boundless invention.  Known as an “Impressionist” composer, a title which gives a false, gauzy idea of his music, this sonata was altogether more modern sounding than most “new” music of our current time. It demanded a wide range of technical mastery from the ‘cellist: vibratos, pizzicato, glissando. Watching the music being made grabbed the attention as much as listening. The pianist also changes technique and mood incredibly quickly. There is no point to guessing what comes next. Debussy changes the colors and the tonal direction of his music. The exhilarating final movement leaves the audience gasping for breath from this rapidly turning dance and also in amazement at the virtuoso music making.

Johannes Brahms(1833-1897) Brahms’ Sonata No. 1 in E minor for Cello and Piano, Opus 38 (1865) is a grand, musical landmark of music for the two instruments. It is fascinating in its combination of play with musical forms and the sense that an overarching meaning arises from what is built out of sound puzzles and structures. Brahms explores how many variations he can make with a five note phrase. In Brahmsian fashion, the music is sweeping, broad, embracing while it is, underneath it all, built so neatly. The second movement, Allegretto quasi menuetto, goes beyond its minuet inspiration. Brahms’ delightful dance opens up the view from the Sonata. Now it overlooks a vast, sunlit garden. It is a lighter and brighter dance than humans in Eighteenth Century clothing could jump into; Thibaudet and Capucon took over as though the music had been written for them. The final Allegro continues to explore the fugues of the first. It is powerful, all encompassing music. Yes, here we are with Brahms. The immense energy and technical power of the performers was astonishing.

Sergei Rachmaninoff (1873-1943)  

Rachmaninoff’s Sonata in G minor for Cello and Piano, Opus 19, is gloriously melodic, far reaching, and generally just gorgeous. It has drama, sadness, charm. The interplay between the ‘cello and piano is balanced as one instrument flies on lyrical wings and the other travels into distant lands created by diversity of sounds. Capucon and Thibaudet shared the world of this music with obvious respect and generosity. There is something about love and something about elegance revealed in the journey from the first movement, Lento-Allegro moderato-Moderato to the closing celebration of Allegro mosso–Moderato–Vivace. The audience did not stand, it levitated on Rachmaninoff’s music.

The artists responded to the cheering audience with three encores (“Oh, look, they’re coming back!”) Again, the musical choices were not only brilliantly performed, they also created a mini-program of stunning music and emotions. First was Rachmaninoff’s “Vocalise,” Opus 34, no.14; then, Shostakovich’s Scherzo (3rd movement) from Cello Sonata in D minor, opus 40. The artists sent us all home with Saint-Saens, The Swan, from The Carnival of the Animals. Exquisite.

Look for Mr. Thibaudet in San Francisco, April, 2019, on a program with famed violinist Midori. He and Mr. Capucon continue their partnership in concerts in Australia, Antwerp, and France. Each will perform around the US with symphonies from coast to coast. Don’t miss them.

 

 

San Francisco Symphony: Sibelius & Rachmaninoff

The San Francisco Symphony, June 24, gave an altogether satisfying, inspiring concert of Jean Sibelius’ Symphonies No. 6 and No. 7, with Sergei Rachmaninoff’s Piano Concerto No. 3. The piano soloist Daniil Trifonov was astonishing. Soon to begin his last season as Music Director of the SFS, Michael Tilson Thomas’ brilliance was obvious conducting and in creating this program.

.Jean Sibelius, 1913 (1865 – 1957, Finland)

Recalling the Sibelius symphonies, the word “enchanting” comes to mind. The Hedgehog hesitates at writing it as it also brings the Hallmark channel to mind, but this music came from deep enchantment, serious magic. It is the magic of a pine tree being green all winter. Sibelius was attached to the natural world of Finland. He wrote from a place in his heart which made him feel he, too, was part of Finland’s nature. The music flows as though Sibelius wrote it on a single breath. In Symphony No. 6, Opus 104 (1923) its calm reigns supremely over the events of growth, expressing that natural mystery with no strain or struggle. It is sublime. Sibelius set out to write his Symphony No. 7 in C major, Opus 105 (1924) as three movements. As it turned out, they are unified into one great ribbon of music. In the Vivacissimo, set between two Adagios, it sounds like a love song. It’s not a song of longing but one of wholeness. Experiencing it, it feels ethereal, but music is physical and exerts its force on all the air and objects around it. In Sibelius’ Symphony No. 7, the musical force and the world affected by it are one. It charms the listener and has the great daring to be quiet. It is at rest but never still.

Sergei Rachmaninoff (1873, Russia-1943 California)

Rachmaninoff’s Concerto No. 3 in D minor for Piano and Orchestra, Opus 30 is stupendous. It does it all: lyricism, expansive energy, darting changes of direction. It is probably not the concerto you are thinking of, but it still has that richness of song. Rachmaninoff’s constant invention keeps the songs tumbling over one another like water over Yosemite Falls. It is complex and passionate. It has musical adventure like climbing a steep precipice and dancing on the edge of a sheer drop. The partnership of the soloist and the orchestra is especially notable. Think of a pas de deux in which the young Nureyev supports the elegant Fonteyn in a way that allows her to let go as together they set the stage on fire.

Daniil Trifonov (photo by JKruk)

The SF Symphony showed power and restraint in maintaining its partnership with soloist Daniil Trifonov. He won the 2018 Grammy award for Best Classical Instrumental Solo. His sensational performance of the demanding concerto did not seem to tire him at all though many in the audience seemed to be exhausted by traveling with him through the music. However, the audience was not too tired to applaud the SFS and Mr Trifonov until he returned to perform an encore. This SFS concert had excitement, thrills, and music of great beauty.