Mittwoch, 01.02.12 | 20.00 Uhr | Großer Saal
Reihe | Artist in Residence
Sol Gabetta Violoncello
Henri Sigfridsson Klavier
Ludwig van Beethoven Sieben Variationen über das Duett "Bei Männern, welche Liebe fühlen" aus Mozarts Oper "Die Zauberflöte" für Klavier und Violoncello Es-Dur WoO 46
Ludwig van Beethoven Sonate für Klavier und Violoncello A-Dur op. 69
Felix Mendelssohn Bartholdy Sonate für Violoncello und Klavier D-Dur op. 58
Adrien-François Servais Fantaisie sur deux Airs Russes op. 13
For your information - it was Mihaela Ursuleasa, a "wild"-talented young pianist who played for tonight's concert. Ursuleasa has worked with Gabetta for a Sony Classical release a few years ago, and I actually hoped to see the chemistry of these "long time" friends in the concert. But Ursuleasa is sick, so... Herr Sigfridsson is the replacement. <Why every time I went to Konzerthaus one person is sick and "almost" destroyed my whole mood to watch the concert?>
Well, at least we still got Sol Gabetta!
The night started quite good with the Beethoven's Variations of Mozart's The Magic Flute. Sounds weird for you? Yes, for me too - at first. It turned out during Beethoven's time, it was quite a trend for a composer to make variations from the operas. Hmm... interesting fact. Since the beginning of the concert I got the feeling, that the absence of Ursuleasa on piano has impacted on the "flow and mood" of the concert. Gabetta's focus and determination while playing seemed to be unmatched by (how to describe this...?) sometimes too-laid-back and average play of Sigfridsson. Well, he played good the whole night, but it was like "7/10" good not "8/10" good.
Beethoven's Sonata is the second piece of the night. And still somehow I felt, it didn't quite catch the audience's attention. And the came the break. Wondering why a supposed-to-be-great night with Gabetta turned out to be one of those "normal" days.
Heaven answered our prayer, no matter if you're Catholic or atheist watching the concert. after the break, Gabetta rocked the building. Bartholdy's Sonata was played in a smoother way, by both of our instrumentalists. Beside the fact that I do like the work, we can feel that this piece accommodate their connection and feel while playing in better ways. Maybe because it's a more modern piece?
The last one of the night is Servais' Fantaisie. Not really famous for his works, I learned a lot about this composer from the programm booklet. Maybe you should check it too. Or must. Anyway, on this piece, Gabetta really really showed her skill. When she played, it's like you’re really hypnotized by the sound. A good piece for cello, eh?
So that’s it? The night went very fast, I thought. But, of course as usual before we went home, we had an encore. Sorry, two encores. Uhm, actually no we had three... no yet-four encores! Four! And this is the “wow” minutes. The audience really loved the encores, these 4 pieces that I don’t know what or by whom (damn my knowledge). We didn’t want the night to be over. Why would we? Gabetta seemed to really enjoy these pieces (self-handpicked?) and Sigfridsson also played with more enthusiasm, even more than what he had showed during the program. Gabetta waved her hands to say goodbye and give the signal: “Okay this fourth is really really the last time. Please go home now.” Okay then... it’s over.
But the real event for me has just begun. The autograph session. I intentionally brought her Elgar CD to be signed. And of course I got her autograph! I thought I would say this in front of her face: “Madam, I personally think that you’re the best cellist of my generation. Thank you for introducing me to Elgar’s Cello Concerto, which now is my theme. Thank you for your Vivaldi projects. And thank you for giving us 4 encores tonight. I adore you and remember you forever!”, but then I reduced it to “Your play tonight is very wonderful. I’m glad I could finally hear you live.”
Don’t wanna look like a crazy fan!! Anyway, here’s the living proof:
But because of the encores, autograph and Sol Gabetta, I give this plus 1.