Violinist Alisa Weilerstein (Elgar’s Cello
Concerto) and pianist Inon Barnatan (Darknesse Visible) have all the
defining traits of the best duo partners. They are both world-class musicians,
with enviable careers of their own – New York’s Weilerstein debuted with the
highly respected Cleveland Orchestra at the age of 13 and in 2011 was named a MacArthur Fellow, while the Isreal-born
Barnatan won the prestigious Andrew Wolf Memorial Award. They both share the
same interests in contemporary music, having debuted numerous works by
prominent living composers. Most importantly, though, their appearances
together show a clear delight in
each other’s abilities, as each spurs the other on to yet greater heights. For
this factor alone, their appearances in London are ummissable.
For their date in the Wigmore Hall 2015/16 season, the pair will perform a thrillingly diverse set of pieces. First up is Beethoven’s Cello Sonata No. 3 (1808). Composed at the same time as the groundbreaking fifth and sixth symphonies, it has been considered the first of its genre to give equal weight to both instruments. This playful yet stately introduction will be followed Poulenc’s Sonata for cello and piano (1948), a work that fuses the composer’s distinct melodic modernism with a hint of the classical past. It’s a humane piece that deserves to be heard more often.
The second half begins with Janacek’s Pohadka (1910-2), a short composition that conjures up a fairy-tale landscape. It was the great Czech composer’s only work for this configuration for instruments; with its gently rolling piano and vivid cello stabs, it makes one long for more. The night draws to a close with Chopin’s Cello Sonata (1846), the sole work published in the composer’s lifetime featuring more than a keyboard. In it, he shows remarkable talent for letting both instruments feed off each other. The opening cello theme serves as the basis for much that follows. Played by musicians with the affinity of Weilerstein and Barnatan, it is sure to truly enchant.
For their date in the Wigmore Hall 2015/16 season, the pair will perform a thrillingly diverse set of pieces. First up is Beethoven’s Cello Sonata No. 3 (1808). Composed at the same time as the groundbreaking fifth and sixth symphonies, it has been considered the first of its genre to give equal weight to both instruments. This playful yet stately introduction will be followed Poulenc’s Sonata for cello and piano (1948), a work that fuses the composer’s distinct melodic modernism with a hint of the classical past. It’s a humane piece that deserves to be heard more often.
The second half begins with Janacek’s Pohadka (1910-2), a short composition that conjures up a fairy-tale landscape. It was the great Czech composer’s only work for this configuration for instruments; with its gently rolling piano and vivid cello stabs, it makes one long for more. The night draws to a close with Chopin’s Cello Sonata (1846), the sole work published in the composer’s lifetime featuring more than a keyboard. In it, he shows remarkable talent for letting both instruments feed off each other. The opening cello theme serves as the basis for much that follows. Played by musicians with the affinity of Weilerstein and Barnatan, it is sure to truly enchant.
| What | Alisa Weilerstein & Inon Barnatan, Wigmore Hall |
| Where | Wigmore Hall, 36 Wigmore Street, London, W1U 2BP | MAP |
| Nearest tube | Bond Street (underground) |
| When |
On 14 Nov 15, 7:30 PM – 9:30 PM |
| Price | £15-36 |
| Website | Click Here to book via Wigmore Hall |
