An insightful and professional chamber music recital at St. John's, Harrow (UK)
Sarah Gait (cello) and Simone Tavoni (piano) performed at St. John's Church, Harrow, on Thursday 25 April 2024, 12:30 p.m. .
The repertoire was:
BEETHOVEN: Sonata No. 2 in G minor for Cello and Piano (Op. 5, No. 2)
GLIERE: Four Pieces from Twelve Album Leaves for Cello and Piano, Op. 51 (5. Andantino; 8. Affanato; 9. Cantabile; 11. Andante)
MENDELSSOHN: Sonata No. 2 in D major for Cello and Piano, Op. 58.
The Beethoven provided an excellent start to the concert. Ms Gait had a lovely, lyrical tone on the cello. There was, indeed, great balance and an elegant tone from both players. There were great accents and crisp tone, from both players, in the passages of the Allegro molto piu tosto presto movement. There was also wonderful range of dynamics, with Mr Tavoni in particular shining through some very sensitive playing - not too heavy, not too light. The Sonata was performed very much in what some may call "the spirit of Beethoven", without exaggerating (however) either in the stronger, more powerful passages, nor in the more sensitive ones. In the Rondo: Allegro, however, I wished for more sound projection from Ms Gait, and I also had a small quibble with her tuning: her intonation was so pitch perfect on the cello, that it contrasted a little (to my ears, at least) with the temperate tuning of the piano. Her intonation (in other words) would have been perfect if she had played with orchestra; however, when playing with an instrument with the intrinsic tuning compromise that the piano has to make, then certain compromises may be needed in the cello intonation, too, so as to avoid clashes. This, however, is an incredibly small quibble. Mr Tavoni, for his part, was a volcano of dynamic range and emotional expressivity - supremely musical, I thought.
The Gliere was also well played. Ms Gait's tone projection was too intimate and "closed in", I thought, just at the start of the Andantino, but it soon opened up. The Affanato was excellent, and the end of the Cantabile, in particular, had some truly stunning dynamics. I just felt that Ms Gait could relax a little more, particularly in the last movement, and in her vibrato - but, again, very small quibbles in an otherwise excellent performance. Mr Tavoni, for his part, seemed to have a personal link to, understanding of, and relationship with the music he was playing, and he (I felt) communicated his musical insight to the audience with ease.
Ms Gait seemed to relax more in the Mendelssohn. Mr Tavoni's playing was (once more) superb, and full of beautiful dynamic contrast. The two performers were in great rhythmical synchronisation throughout the Allegretto scherzando, and the Adagio (which features a Bach chorale) brought some beautiful, majestic playing from both players, with an ending to the movement that was truly magical. The Molto Allegro e Vivace final movement was, for me, a highlight of the concert - with Ms Gait letting go more, and taking more risks. This whole recital gave us an insightful, and a thoroughly professional performance from both Ms Gait and Mr Tavoni, and the applause they received, at the end, was well deserved.
