En direct, Vidéo: Rechercher des critiques de musique classique, opéra et ballet | Sonate pour violoncelle en ut majeur, Op.65

Crisp and elegant cello and piano playing is more successful in French and early repertoire than in Brahms.

Alban Gerhardt and Steven Osborne offered a vivid and memorable reprise of Ben and Slava's iconic recital of 1961. 

One of the most appealing features of the concert was the friendly and casual nature with which these two young musicians presented a concert of relatively lesser-known works for cello and piano to a mostly young audience.

It's all the Bs for Laura van der Heijden and Tom Poster for Music in the Round. 

Cellist Gautier Capuçon and pianist Frank Braley are artists I have previously admired in many chamber ensemble concerts, but their recital at Kings Place was the first time I heard them as a duo.

The American cellist unlocked a corporeal vault –thus shining light on musical internal organs that we never knew existed.

Alban Gerhardt's and Steven Osborne's wonderful solo and duo skills unfold across a gritty programme.

Beethoven started it, the piano’s duologue with the cello, in 1801, with his Seven Variations on “Bei Männern, welche Liebe fühlen” from Mozart’s Die Zauberflöte. Beethoven himself, and many composers from Brahms (1862) through Lera Auerbach (2002) continued to ornament this form. In 1968, Jacqueline du Pré and Daniel Barenboim, with their recording of Brahms’ Cello Sonata no.

Bringing with them the exuberance of youthful passion and prodigious energy, the students of the International Musicians Seminar Prussia Cove in Cornwall transformed a starkly unaccommodating town hall into one which thrilled to the talents of classical music's heirs.