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
Prokofiev
Cello Sonata in C, Op.119
Saxton
Sonata for Solo Cello on a Theme of Sir William Walton [London premiere]
Poulenc
Cello Sonata
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Steven Isserlis (cello) &
Kirill Gerstein (piano)
Reviewed by: Richard Whitehouse
Reviewed: 1 September, 2003
Venue: Lecture Theatre, Victoria & Albert Museum, London
A nicely-balanced recital from Steven Isserlis and Kirill Gerstein – the latter’s buoyant and perceptive pianism indicative of a major new talent. Prokofiev’s Cello Sonata is often referred to in terms of its passivity and resignation, but Isserlis’s full-bloodedness in the intricate opening movement, and touches of irony and equivocal humour elsewhere, gave it greater emotional heft than is the norm. Poulenc’s Cello Sonata, completed in 1953 after a lengthy gestation, is a virtual compendium of the moods – and mood-swings! – of his maturity: alternately fulsome and chaste in the ’Cavatine’, playful in the ’Ballabile’, while melding rhetoric with reason in the opening ’Allegro’ and in the finale.
In between, a first London outing for Robert Saxton’s Solo Sonata on a Theme of Walton. The theme in question was composed in 1970, but remained ’variation-less’ until Saxton gave it context in four movements of contrasting but interlinking motion and character. A searching ’Passacaglia’ and animated ’Dance’ follow a closely-argued ’Praeludium’. The final ’Song’ rediscovers the theme in soulful and understated terms. Played with palpable dedication by Isserlis, this is a notable addition to an area of repertoire that has come into its own in the half century since Saxton was born.
- Radio 3 re-broadcast on Sunday 7 September at 1 p.m.
- BBC Proms