Live, Video: Find classical music concert, opera, ballet and dance reviews | Cello Sonata no. 2 in F major, Op.99

Hakhnazaryan’s programme was rich with meaty music.

The unmistakable approach of the American cellist lent itself easily to both Stravinsky and a recent work by Steven Mackey. It also twisted Brahms a little beyond recognition.

For whatever reason, performers have always seemed to fear the fourth wall. They are content to let their music speak for itself, and any attempt to address the audience verbally is often considered lowbrow. This makes sense in some regards, as it facilitates the image of performer as master and lends artistic integrity to the music.

Reviewing concerts by young performers can be a tricky business, particularly when the material is highly varied and the way it is played even more so. Whenever I formed an opinion about the cello playing of Pablo Ferrández in today’s concert in Gstaad Chapel, I found myself contradicting it in the following piece.

The Brahms cello sonatas in E minor and F major are two pillars of the cello repertoire and represent, rightly so, the first career peak for performers. Together they cover the full range of emotion, from dark, brooding introspection to the playful nature of the middle movements.

Dans un récital au (trop) long cours, le duo a souvent semblé déséquilibré, le violoncelle d'Edgar Moreau manquant de caractère au côté du piano somptueux et virtuose de Nelson Goerner.

Si le duo propose des sonates très abouties avec une belle fusion des timbres, on regrette l'absence de contraste marqué entre Mendelssohn et Brahms.

La pianiste Diana Cooper a inauguré au Koïfhus la série de récitals consacrés aux jeunes talents, tandis que Bruno Philippe et Cédric Tiberghien ont ouvert le bal des concerts de musique de chambre.

Brahms enflammé, Schumann passionné, Chostakovitch endiablé : rien ne résiste au duo formé par Mischa Maisky et Martha Argerich, qui déchaîne le public de la Philharmonie.