Albert G. Storace reviews the final concert of the Duo Trainini – Pontoreiro Cello & Piano Duo mini-residency at Gaulitana.
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Acclaimed for their captivating energy whilst exploring a diverse repertoire, the dynamic duo perform their second concert at Gaulitana presenting a 20th century programme.
Reflecting the commitment of the ensemble to push musical boundaries, the repertoire explores the connections between the Italian musical heritage and the innovative spirit of Stravinsky.
After their all-Brahms concert the previous evening, the Italian cello and piano duo performed their second consecutive concert in the same hotel.
The main difference was that the programme was more varied in featuring three different composers who were Alfredo Casella (1883-1947), his Italian compatriot Mario Castelnuovo-Tedesco (1895-1968) and Igor Stravinsky (1882-1971).
Before sounding the first note Roberto Trainini made quite a long introduction in English. Unfortunately most of what he said was not loud enough. I just caught word of there being something connecting the three composers, that they knew each other and little else.
Come to think of it, one certain link between them was that all three works they composed and performed this even were neo-classic in style. Stravinsky was Russian who lived for long periods in Italy and was to die in Venice.
Casella and Castelnuovo-Tedesco were not only compatriots but also professionally close. Casella, also a prominent conductor promoted his friend’s music by including them in his concerts.
Casella’s was the first work performed. It was
his Sonata for cello and piano in C major, Op. 45 (1927). The instruments were evenly balanced sharing material and mutually supportive. The sonata is in four movements, the first of which Preludio, largo molto sostenuto and it is the longest one. The Bourrée marked Allegro molto vivace e scherzando was pretty lively and sonorous.
Marked Largo the third movement was only just shorter than the opening one and preceded the concluding shorter but very energetic Rondo di molto vivace quasi giga.
Casteluovo-Tedesco’s Sonata for Cello and Piano (1928) is an attractive work with a passionately tinged opening movement. It continued with a central lyrical middle movement. The generally brisk closing movement sounded as if it were a theme and variations. Actually it was rather intricate.
LIving through a neo-classical phase at the time, Stravinsky’s ballet Pulcinella (1920) links him to a character from Italy’s famous Commedia dell’Arte. He put together a suite of eight movements five of which were performed. These were Sinfonia (Overture) followed by Serenata, Scherzino-Allegro, Tarantella and Toccata. They were colourful and pleasant performed with great vitality. A really fine conclusion to the cello and piano weekend
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