A review by Albert G. Storace in the first of two concerts by the Duo Trainini-Pontoriero, performed on Saturday 26 April at Kempinski Hotel San Lawrenz.
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The Duo Trainini-Pontoriero performed two concerts on two consecutive evenings during the past weekend. The first of them was entirely devoted to music by Johannes Brahms (1833-97). I relished the prospect of this bonanza in view of my soft spot for Brahms. It was evident from the beginning that this was a formidable duo and they fully proved to worthy Brahmsian interpreters.
Mention of Brahms and his cello and piano sonatas generally brings to mind those known to most as N.1 in E minor, Op. 38 and N.2 in F Major Op. 99. Personally I was not much aware of what was listed in the programme as Cello and Piano Sonata in D major Op. 78. Never having come across it in decades of concert-going, I was a bit perplexed because to me Brahms Op.78 was his First Violin and Piano Sonata in G Major. There IS a transcription for cello and piano but some doubt still persists as to whether Brahms (or somebody else) were behind it.
The same tempo indications remained in both works both completed in 1879. Brahms discarded the Adagio he had composed.
leaving the work as one in three movements. Another detail is the inclusion of thematic elements harkening back to the composer’s own Regenlied, Op. 59 n.3 (1873) for which it is nicknamed the Rain Sonata.
Very notable is that Brahms, who was a superb composer-pianist0, allots equal prominence to both instruments. This partnership was solid and reigned supreme.
The Sonata in E minor Sonata had a long gestation: from 1862 to 1865. It comes in three movements too with an opening and very expansive Allegro non troppo in Sonata form. The Allegretto quasi menuetto was very charming. In conclusion the last movement began Allegro, then resolved into a Tranquillo section with a highly contrasting and final energetic Presto.
The third and last Sonata in F major, Op.99 (1886) began with a very assertive Allegro vivace which was followed by three more movements. The Adagio affettuoso was of supreme tenderness to be followed the very fiery Allegro appassionato which left no doubt that it was just that. The work was brought being brought home with the concluding Allegro molto.
There was one encore, a generally serene Intermezzo with a slightly more energetic mid-section which gave way to a smooth, calm and gentle conclusion.
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