Biography

An unerring musical instinct, intense emotionality and a natural, arresting stage presence are the defining qualities of German cellist Alban Gerhardt, who in recent years has established himself among the leading performers on his instrument. His sound is unmistakable and his interpretations are distinguished in their originality. He has performed as soloist with many internationally-renowned orchestras, including the Berlin Philharmonic, the Cleveland Orchestra, and the London Philharmonic. In 1993 Gerhardt won the Leonard Rose International Cello Competition sponsored by the University of Maryland, College Park. Reviewing his prize concert in Alice Tully Hall for the New York Times, Allan Kozinn noted that Gerhardt “played with the burnished tone, focused intonation, and technical dexterity that one expects of young soloists in these days of high-gloss conservatory training.” Gerhardt plays a Matteo Gofriller cello made in 1710. 7th LMMC concert.

Scottish-born pianist Steven Osborne is one of the UK’s most treasured musicians, with an immense depth of musicality and exceptional refinement of expression across diverse repertory. His recitals are publicly and critically acclaimed without exception. The Observer described him as “always a player in absolute service to the composer.” Osborne has been an exclusive Hyperion artist since 1998, with some three dozen recordings to date. Osborne was appointed an Officer of the Order of the British Empire (OBE) for services to music in the 2022 Queen’s New Year Honours. 2nd LMMC appearance.

Robert Markow

https://albangerhardt.com/

https://www.stevenosborne.com/

Notes

Schumann originally called the three pieces of Op. 73 Drei Soiréestücke (a curious compound of French and German). Within days of completing the pieces for clarinet and piano, the composer allowed that the piano could be partnered by either violin or cello as well, obviously a bid to increase the music’s marketability. Its innate lyricism, eminently pleasing quality, and lack of technical demands mark this as Hausmusik – music to be played in an intimate setting at home by amateurs for their own pleasure.

The arpeggione was a short-lived string instrument invented in Vienna in 1823, best described as a cross between a cello and a guitar. Schubert’s Arpeggione Sonata remains the only significant work written for this long-obsolete instrument. Fortunately, it can also be played on the cello or viola. The sonata-form first movement opens with a long-breathed, melancholic theme first for the piano, then for the cello. The short but deeply soulful middle movement in E major is reminiscent of the vocal style of a Bellini or the lyricism of a  Chopin. The third movement, a rondo in A major, follows without pause, and exudes radiance and buoyant joy.

“Music as a form of prayer” and “oriental spirituality” are terms often used to describe the music of Estonian-born Arvo Pärt, who turns 90 four days from now. These qualities are all much in evidence in Fratres (brothers, or brethren), a family of compositions numbering over a dozen. In the version for cello and piano, the cello begins alone with nearly a minute and a half of nonstop rapid-fire arpeggios. Then, a hymnlike subject consisting of slowly shifting chords is heard eight times in succession in the piano, each repetition pitched differently, each with a different contribution from the cello across a span of about ten minutes.

Franck’s only violin sonata (which has also been arranged for numerous other instruments, notably flute, viola, and cello) was created as a wedding gift for his friend, the famous Belgian violinist Eugène Ysaÿe, who gave the premiere the same year. This sonata remains one of the composer’s most popular works, and well demonstrates his spontaneous, exuberant variety of romanticism. The finale is without doubt one of Franck’s most charming and inspired creations. Canonic imitation (one voice following the other at a specified time interval) at the octave is used throughout, creating between the two instruments a remarkable dialogue.

Robert Markow