For a composer whose
worldly fame during his lifetime was as a violinist, Enescu’s
two cello sonatas have proved popular on disc, this being the
fourth pairing I know of – and it came to my attention via the
MusicWeb Bulletin Board.
The first factor
that stands out is the relative playing time of the disc – it
comes at anywhere between three and nine minutes longer than
alternative versions. Ilea/Licereţ on Olympia/Electrecord
and Zank/Sulzen on Arte Nova, I would class as the front-runners.
I do not see much wrong with a more expansive and lyrical view
of Enescu’s writing, which is what you get here, but in overall
terms the drama of the works is not so much negated as painted
on a smaller scale. For some, particularly if used to the more
punchy interpretations listed above, this may take a little
getting used to.
However, this does
not mean the works are entirely without dramatic contrast as
played here. Take the opening of the first sonata, punchy piano
chords announce a strong opening to which the cello responds,
later proceeding to moments of inner repose before joining the
piano again in an extended lyrical song of simplicity (in the
cello line) accompanied by the piano with great feeling. The
connecting passages are perhaps a little more tentative than
with other performers, but Enescu’s writing can take it. The
lighter of foot section that follows is given with tenderness,
although here as before the piano tone seems prominently placed
within the recording. When things pick up tempo and dynamic
again a greater presence to the cello line would have been welcome,
though this is not for lack of trying on the part of Maria
Aneculaesei.
Of the version on
Arte Nova (74321 54461 2) featuring Gerhard Zank and Donald
Sulzen, I wrote in June 2005:
“Were
it not for the music, and the lively interpretations and singing
line of Zank’s cello, this recording would still find its way
on to my list of treasured items. This must be one of the most
perfectly voiced piano recordings ever made, making for a genuine
partnership in response to the music: listen for example to
the interaction in the last two movements of the second sonata.
Gloriously uplifting music-making all round.”
Since then I have
become better acquainted with the Ilea/Licereţ on Olympia/Electrecord,
and although I find the pianism of Nicolae Licereţ more
moving, I must confess Sulzen still has the finer instrument.
All of which shows what Jan Michiels is up
against here, but he copes gainfully, producing power and restraint,as
the music demands, with ease. Restraint – the starting point
of all crescendi – is felt and thrillingly delivered in the
first sonata’s third movement.
The
second sonata stands out even amongst the works of Enescu as
something of sophistication and individuality. It starts with
extended soulful simplicity (at least on the outside) before
proceeding to an allegro agitato that the composer spoke if
in terms expressing “liberation, sincerity and courage”. As
a bearer of these values for the Romanian people nowhere are
these more felt in his cello writing than the powerfully evocative
Final à la Roumaine, which holds a path parallel to that of
his third violin sonata in inspiration. Following as it does
the Andantino, scored to begin with for solo cello, the effect
is truly one of emotional release, and many Romanians I know
say how these passages touch on something almost indefinable
in the national psyche.
Befitting
this moving music the performance it receives here shows honesty
in tone, and a certain apt fragility too. That leads to growing
confidence and feeling that underlines the powerful sentiments
Enescu sought to capture in sound.
Evan Dickerson
AVAILABILITY
Contact: els18053@skynet.be
- donation of 25 Euros
Maria Aneculaesei (cello)
