Edward Bhesania visits London’s Wigmore Hall on 13 October 2024 for the performance of Debussy, Mozart and Beethoven
This recital continued Wigmore Hall’s ongoing showcasing of talents from the string academy based near Frankfurt.
If Debussy’s Cello Sonata is meant to be inspired by the commedia dell’arte figure Pierrot, that didn’t seem to be the view of Bryan Cheng, whose take on the piece was convincing in terms of sincerity and lyrical beauty but lacked the last degree of character.
Juilliard graduate Oliver Neubauer opened Mozart’s A major Violin Sonata K305, in suitably buffo mood. There was a sense of the Allegro di molto tempo feeling hurried, but the playing was bright, clean and characterful. The second (and final) movement drew some especially well-sculpted phrasing in its sextuplet-laden third variation.
Was the best left till last? There was no shortage of vigour or genuine good-naturedness in the account of Beethoven’s last Cello Sonata by Dutch cellist Alexander Warenberg. His intonation was bombproof, regardless of bow attack or pressure. Observing the second-movement marking Con molto sentimento d’affetto with brave conviction, he achieved a seamless connection between thought and sound. On this hearing Warenberg is a performer well worth seeking out.
And let’s not forget pianist Jérémie Moreau who, in his partnership of his colleagues, was reliable, sensitive and stylistically astute throughout.
EDWARD BHESANIA
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