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Paul S
San Diego, California, USA
Posts 2,657
Joined on 10-12-2006
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Post #:
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1
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Post ID:
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8485
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Reply to:
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8485
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Mendelssohn, Cello Sonata #2 (in D), Op 58
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Lynn Harrell, cello; James Levine, piano. RCA/Time-Life, 1978; stereo, STL561-2G
I am not familiar with Lynn Harrell, but I now aim to correct my lamentable oversight.
Here, both Harrell and Levine play individually and ensemble with great wit and charm. Harrell's instrument is lovely, and with it he makes the most interesting texture I have ever heard from a cello, using the bow, of course, but also his fingering, his draw, per se, and, I imagine, his body on the instrument. Early on, the work seems a tiny bit constrained, which I initially attributed to the cello itself being somewhat limited dynamically. Later this proved not to be the case, and when Harrell does begin to belt it out it becomes immediately obvious that he has deliberately stayed within self-determined bounds up to that point. Likewise, the early piano contra is primarily rhythmic, but it, too, loosens up as the piece is developed, and as the fluidity of the verse is developed.
I enjoy this type of music, which is a sort of large-scale parlor (or exhibition) piece of the sort often penned by the well-connected artists of the day, typically written for/dedicated to well-heeled courtiers who owned and/or patronized halls sufficient for the pieces in question. Needless to say, Mendelssohn had entre, whither he would go.
Anyway, I highly recommend this piece.
I would appreciate info and/or tiips on Harrell, in particular, and also any tidbits about his cello.
Paul S
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