For her new album, cellist Sol Gabetta has turned her attention to works by Robert Schumann. She is accompanied in his renowned cello concerto by...

For her new album, cellist Sol Gabetta has turned her attention to works by Robert Schumann. She is accompanied in his renowned cello concerto by period instruments of the Kammerorchester Basel and in the three sets of chamber works for cello and piano she teams up with Bertrand Chamayou playing an original fortepiano. As an admirer of Gabetta’s playing and having enjoyed her previous releases, I set about listening to this album with much enthusiasm.

Gabetta performs with passion throughout and excels with playing of conviction in the passages requiring brilliant virtuosic display. I enjoyed the generous Romanticism of the central movement marked Langsam with Gabetta expressing the characteristic songlike lyricism imbued in the score. At times, the writing feels like a love letter to Clara. In the closing movement, Sehr lebhaft, Gabetta’s striking playing is decisive with a sense of urgency. Playing a Giovanni Battista Guadagnini, Parma (1749) cello, Gabetta has been provided with recorded sound which is a touch too close for my taste. The Kammerorchester Basel, under Giovanni Antonini’s direction generally does full justice to Schumann’s orchestral writing but I find the louder passes slightly harder to judge as some of the detail is lost.

Gabetta has also included here three captivating sets of Schumann’s pieces for cello and piano, all written in 1849: the Five Pieces in Folk Style (Fünf Stücke im Volkston) for cello and piano, Op. 102, the Adagio and Allegro in the original version for cello and piano, Op. 70, and Three Fantasy Pieces (Fantasiestücke) in the original version for cello and piano, Op. 73. Here, Gabetta plays a Matteo Goffriller, Venice (c. 1725) cello and is accompanied Bertrand Chamayou using a fortepiano by J.B. Streicher, Vienna (1847). Gabetta’s performance is passionate and again her rich sounding cello is closely recorded and is balanced to slightly dominate the fortepiano. Although Chamayou’s fortepiano is of the period, I find it hard to enjoy its woody sound.

The booklet essay, entitled ‘Violoncello Works by Robert Schumann’ and written by Ruth Seiberts, is commendable.

– MusicWeb International (Michael Cookson)