Pianist Inon Barnatan

WEILERSTEIN-BARNATAN DUO IN WEILL - REVIEW TWO

This was one of those concerts which far exceeded my expectations. I have heard Alisa Weilerstein several times before, as a colleague in concerts with Jeffrey Kahane, but she has matured and is certainly now one of America’s pre-eminent cellists.

Playing before a sadly half empty Weill Hall audience the cellist and pianist Inon Barnatan opened with Beethoven’s Sonata No.5, and announced the work with an electrifying set of phrases from the piano. It spoke to the audience saying, “This is not going to be an ordinary Beethoven performance.” When Ms. Weilerstein joined with her rich toned cello voice, an augury of what lay ahead was apparent.

Using an iPad on the piano’s music desk, the pianist displayed a brilliant technique and remarkable dynamic range throughout the program. His singing tone was a perfect match to Ms. Weilerstein’s romantic approach to every phrase, both ranging from pppp to fff.  In the Adagio movement listeners seemed to lean forward in their seats: “Is she still making sound?”. But the bow was still moving.

The second work in the program was unusual and new to the cello repertoire—a transcription of the Schubert Fantasie in C Major, D. 934, originally for violin and piano.  Superbly conceived and an absolute delight to hear, the transcription was done by the two performers. Its six movements blossomed out as the best of the composer’s always charming work, opening with a barely heard Andante and proceeding through a bouncy Allegretto, and ending with a Presto filled with fanciful variations that brought out Mr. Barnatan’s ability to play long tremolos with both hands very softly but perfectly.

After intermission the Duo played four movements of a thankfully short work by Joseph Hallman, entitled "Dream Log,” that was interesting, and I say this non-pejoratively. A microphone placed in front of the pianist carried the sound of heavy breathing, written into the score to produce an occasional pant.

The concert concluded with a passionate performance of the Rachmaninoff Cello Sonata that perfectly suited to the cellist and pianist. Throughout the sonata Ms. Weilerstein displayed elegant tone, and there was never a line in the score, nor a phrase, in which both the outer and inner melodies did not flow dynamically. Of course this work abounds with beautiful lines that are reminiscent of the best tunes of Rachmaninoff’s piano concertos, and the cellist made the most of them. The last movement was positively triumphant, ringing through the hall and evoking a standing ovation from an enthusiastic audience.