Felix MENDELSSOHN (1809-1847)
Cello Sonata no. 1, Op.45 [23.59]
Variations concertantes for cello and piano, Op.17 [9.28]
Lied ohne Worte for cello and piano, Op.109 [4.08]
Cello Sonata no.2, Op.58 [25.01]
Paul Watkins (cello), Huw Watkins (piano)
rec. Potton Hall, 10-12 May 2011
CHANDOS CHAN10701 [62.59]
This excellent release from Chandos presents Felix Mendelssohn’s works
for cello and piano. These span from the early Variations concertantes
— composed when Mendelssohn was only nineteen and dedicated to his
younger brother, the cellist, Paul Mendelssohn — through the two sonatas
of 1838 and 1843, to Lied ohne Worte, written specifically for
cello and piano just a few years before Mendelssohn’s death.
The Watkins brothers – Paul on cello and Huw on piano - deliver extremely
intelligent and well thought-out readings of these utterly delightful, assured,
characterful and superbly-composed works. The performances offer a good
layering of sound, with articulations and dynamics unified where necessary
and differentiated to enhance the contrapuntal nature of the writing where
appropriate. There is plenty of energy and zest in the Watkins brothers’
compelling playing, especially so in the outer movements of the Sonatas.
On occasions the impression can be slightly dense, perhaps a little over-muscular,
but the rhythmic underpinning and strong sense of phrasal direction mean
that the lines never stagnate.
The presentation of the disc is, as one would expect from Chandos, good.
There are intelligent and clearly laid out booklet notes from Bayan Northcott,
as well as a rather lovely photograph of the Watkins brothers as children
on their Welsh doorstep, Huw peering from behind his elder brother’s
cello, which towers above both boys.
My only (minor) gripe with this release is that I found a bit of a balance
issue overall. The cello sounds rather forced upon occasion and it seems
too closely miked, with quite a granular sound in the upper register especially.
The lower register, however, lacks elasticity at times, especially when
competing registrally with the piano, such as in the last movement of the
Second Sonata. One cannot, however, fault the music-making itself; these
are excellent realisations of this wonderful music.
Em Marshall-Luck
Previous review: John
Sheppard
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