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Curiously enough, the opposite is true of their [FRANCK]. Here a broad sense of line and really impressive climaxes make the work sound larger and more impressive than on the EMI recording, while [Steven Isserlis]'s singing tone and sensitive use of vibrato and tone color bring us a Franck of great variety, with passion and mystery by turns. Isserlis's decision to restore the higher register of the second climax in the finale removes my only objection to the cello version of this piece.
FRANCK: Violin Sonata
RACHMANINOFF: Cello Sonata Renaud Capucon, v; Gautier Capucon, vc; Alexandre Gurning, Lilya Zilberstein, p EMI 57505-66 minutes
FRANCK: Cello Sonata; La Sylph; Panis Angelicas; RACHMANINOFF: Cello Sonata; Prelude; Oriental Dance Steven Isserlis; Stephen Hough, p; Rebecca Evans, s Hyperion 67376-78 minutes
The EMI program comes recommended by Martha Argerich, so you may know what to expect. Both of the Capuccons are full of passion and technique. I tend to prefer the cellist by a hair, though at 20, he is the younger of the two and more enthusiastic than mature. In Rachmaninoff it is the pianist that carries the ball and Zilberstein does so with a lovely line and much power. One hears mostly Gautier's noisy nasal passages at first, but as things go on the nose disappears in the music. The first movement repeat is observed. Renaud's Franck is thoughtful and beautiful, possibly with less personality than the Rachmaninoff performance, but then, the music is also a little less over the top. It is a fine collection.
The Hyperion collection joins these same two sonatas with other works by the same composers. Isserlis immediately shows his mettle in the two Opus 2 works of Rachmaninoff, played in an immediate style that recalls vocal techniques. he steps over the footlights and talks to us while his sensitive partner, Hough, invites us to an intimate conversation between the two players. When the sonata begins, this feeling for detail bears fruit in a performance that brings out the exact opposite character from the grandeur of the EMI reading. Isserlis and Hough emphasize the chamber aspect of the work, the voice-leading in the piano part and the way the cello tone blends with it. The closer recording assists this effect. I have heard more powerful performances but seldom one as friendly and sympathetic as this one.
Curiously enough, the opposite is true of their Franck. Here a broad sense of line and really impressive climaxes make the work sound larger and more impressive than on the EMI recording, while Isserlis's singing tone and sensitive use of vibrato and tone color bring us a Franck of great variety, with passion and mystery by turns. Isserlis's decision to restore the higher register of the second climax in the finale removes my only objection to the cello version of this piece. The addition of a song with cello obbligato and the PanisAngelicus from the Mass, Opus 12 make this an original program as well as a most expressively played one. And Isserlis's liner notes are full of fun, too!
D MOORE
Copyright Record Guide Publications Nov/Dec 2003