CELLO RECITAL

Press, Volume CIX, Issue 32016, 17 June 1969, Page 16

CELLO RECITAL

Mr Pierre Fournier’s cello recital in the Civic Theatre last evening attracted a very large audience, and was a tour de force of elegant phrasing, of expressive building up of melodies, of refinement of tone, and of sensitive insight into music’s finer subtleties.

His accompanist and associate artist was Mr Maurice Till, who again showed his wide musical understanding and sensitive response to every requirement of interpretation. He is widely, and deservedly, appreciated by the great artists with whom he plays.

The programme began with a Sonata by Francois Francoeur, an eighteenth century work full of French wit- and courtly grace. Mr Fournier captured the admiration of all his hearers with the wonderfully rounded and magnificent tone which be used in the opening phrase. The last section was taken at high speed and showed the players flexible strength and brilliance.

Mr Fournier then played Bach's Suite No. 3 in C for Solo Cello, in whose seven sections he gave us an astonishing display of perfectly controlled technique as well as a shining example of classical finesse. Throughout. the work his cello seemed to have a living and breathing vibrancy. Then came Brahms's Sonata in E minor for Cello and Plano which both artists' interpreted in courtly, gracious, and suave manner, full of

warm and sympathetic feeling, expressed in golden tone from the cello and with rounded and vital brightness from the piano. It was a grand performance giving a glowing warmth to every hearer.

This was followed by Shostakovich’s Sonata in D minor, beginning with vigorous chattering and then drifting to a more gentle and tolerant type of atmosphere. There were many and effective changes of colour and approach in this movement, and it ended quietly and mysteriously. The Scherzo was magnificent fun. full of vigorous eclat at the beginning, followed by long and repeated glissandi from the cello, suggesting sliding down the banisters just tot the hell of it.

There was haunting loveliness in the slow movement which began in a grey mood, and, as it was Russian, there seeemed to be a good chance that some Moujik was about to commit suicide. However, it opened out more freely and led to music of serene calm and contemplation and ended in ethereal delicacy. The last movement began in cap-a-pie atmosphere bent on experiencing all the fun of the fair. There was plenty of brilliance given to the piano part, and it was superbly played. The programme ended with an Introduction and Polon- - aise Brillante by Chopin, merry and bright, and pleasant to hear. —C.F.B.