CHAMBERFEST ‘07 : by Stanley Fefferman. An Illustrated Diary. Page 2

Sunday, July 22, 8 pm.
Yegor Dyachkov, cello, Jean Saulnier, piano

Prokofiev: Adagio and Waltz from the Ballet “Cinderella”. Transcribed by Rostropovitch.

Adagio: Brooding cello’s melancholy grows turbulent,
breaks and fades to tenderness.

Waltz: Piano is slow. Introverted cello moans for hint of the dance latent in an aria of imagined gaiety. Ends in thunder.

Schubert: Sonata for Cello and Piano in A minor, D.821.

Sparkley piano, sprightly cello;
piano unfurls anthemic theme
lovely as a banner.

Body and face of Saulnier move into the music
where good spirits and drama vie,
ending in unison.

Adagio: piano is introverted, formal.
Cello chimes melodic song stately and balanced
Saulnier leans into the songlikeness.

They finish it allegretto, a folk dance pizzicato.

Britten Sonata for Cello and Piano in C major opus 65

Dialogo allegro is piano scales that rise and fall, traversed by short, deft strokes of cello: twin ladders of the double helix terminate on a weird harmonic.

Scherzo is pizzicato of taut, tentative feet, scampering of rats and cats. Violent.

Elegia proceeds at a slow, even pace, like a state funeral.

Marcia is, oddly, lyrical. Plaintive, melancholy cello grows tense and agitated, alarmed as if menaced, is pacified by piano tenderly into a quiet dissonance until drama erupts in unison march that builds to shrill whisking sonics.

Moto perpetuo completes the question put in all but words, “What to make of a diminished thing?”

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