Of the various young cellists contending for the crown these days,
Bruno Philippe
is among the strongest, with a highly varied palette of tone production. He applies the full power of the instrument sparingly, keeping a light touch in lyrical sections and making details clear even at the growling bottom of the instrument's range. The large pieces here are perhaps of varying quality, but they serve
Philippe
well. The
Violin Sonata in A major
of
Cesar Franck
was transcribed for cello with the composer's approval, but it is a different work lower down, losing the soaring quality of the finale's melodies. Still, it fits
's way with a tune nicely, and he applies a good deal of tempo rubato in a way that holds the interest.
keeps the cello lines clear in
Saint-Saens
Cello Concerto No. 1 in A minor, Op. 33
(the mix of cello-and-piano works with a cello concerto is entirely characteristic of what might have been offered in these composers' own era), featuring the
Frankfurt Radio Symphony Orchestra
.
Francis Poulenc
's
Cello Sonata
was sketched out by the composer in 1940, laid aside, and completed only reluctantly in 1948. The composer disparaged it, and no one would pick it as top-grade
Poulenc
, but for all that, it has a remarkable Cavatine slow movement that displays
's lyrical gifts to the hilt. Serving as intermezzi among these works are short pieces by
Faure
, and these, too, show
as the possessor of a remarkable cantabile.
is ably accompanied by the veteran pianist
Tanguy de Williencourt
; they make an effective pair, with the pianist's restrained style seeming to keep the young
within bounds.
Harmonia Mundi
contributes idiomatic chamber music sound from the Hessische Rundfunk studios in Frankfurt on an album that will appeal to any lover of French chamber music. ~ James Manheim