Cellist Alisa Weilerstein

WEILERSTEIN-BARNATAN DUO IN WEILL - REVIEW ONE

The MasterCard Performance Series in Weill Hall featured an April 26 recital by cellist Alisa Weilerstein and pianist Inon Barnatan.

In Beethoven’s substantial D Major sonata, Op.102, No. 2, the duo were clearly at ease with both the technical demands of the writing and with each other. They showed a lovely rapport in all the give-and-take between the instruments that is such an important part of Beethoven’s chamber music writing. Particularly striking was how, in the composer’s sudden dynamic changes, not only the volume, but the character of their playing changed distinctly. This carried over as the second movement began in its distant, timeless opening half-note chords. Their rendition was quite touching without being overly sentimental or exaggerated.

Mr. Barnatan had an elegant touch and, although the acoustics of Weill Hall are at best dubious for small chamber music and string instruments, it never overpowered Ms. Weilerstein’s sound. She did have a propensity to play quite a bit in a pianissimo lontano, given the fact that for her clearly fine cello the room is excessively live and diffuse. The fugal third movement of the Beethoven was lovely and conversational, dramatic as called for but never losing that joyous interplay that makes this movement and piece compelling and a standard in the cello repertoire.

Following the Beethoven was Schubert’s C Major Fantasie, D. 934, a work originally written for violin and piano and played with aplomb by Ms Weilerstein. This is a wonderful example of Schubert at his mature best (if any composer dying before his 32nd birthday can have reached musical maturity!). It is considered virtuosic for both violin and piano, and doubly so for the part played on the cello. Her command of the instrument was stunning, with massively difficult passages being played with verve and confidence. The end of the Fantasie was met with an immediate standing ovation from the audience.

After intermission the duo played music of the young Philadelphia composer Joseph Hallman, named by NPR one of the top composers under age 40. DreamLog was written for Ms. Weilerstein and Mr. Barnatan as a series of the composer’s dreams, some with descriptive titles such as Stellar Vision and Poulenc/Picasso vs. Shostakovitch/Kandinsky. It was helpful that they talked about the piece before playing, and of how many of these sections were random, so each time it was performed it would sound different. Those with titles seemed appropriate to their inspirations. They performed four of the eleven movements.

The duo closed the program with the G minor Sonata, Op.19, by Rachmaninoff. This large, four-movement work was written immediately after the successful 1901second piano concerto. It is full of the romantic drama and rich melodies that are a trademark of Rachmaninoff. Ms. Weilerstein and Mr. Barnatan easily rose to the occasion. The performance was completely convincing and the audience rose to their feet as one to acknowledge that fact. Although brought back to the stage twice by continued applause, there was no encore.

The audience was exceptionally appreciative but their modest numbers made the Weill seem cavernous. Schroeder Hall would have been a better location where the cellist could match her sonority with the pianist’s sound. As it was, Mr. Barnatan did a commendable job of sounding authoritative and dramatic without unduly covering Ms. Weilerstein.

This was a virtuosic collaborative duo, well worth seeking out the next time they come to Northern California.