Avie 2373 and Avie 2378
Two recent recordings on Avie Records highlight cellist Antonio Meneses and harpist Elizabeth Hainen in a variety of engaging repertoire that is performed with flair and individuality. Both of these distinguished artists have achieved international recognition: Brazilian-born Meneses won gold at the International Tchaikovsky Competition, was a long-time member of the Beaux Arts Trio and is on the faculty of Bern University of the Arts in Switzerland.
Ohio-born Hainen is principal harpist of the Philadelphia Orchestra, gave the North American premiere of Tan Dun’s Nu Shu: Secret Songs of Women and teaches at the Curtis Institute of Music and Temple University. She is founder of the Elizabeth Hainen Harp Colony at Curtis Summerfest and The Lyra Society of Philadelphia.
Let’s begin with the cello. Meneses is an interpreter of the purest kind. His own temperament is infused with that of the composer, resulting in a fresh, personalized and musically meaningful approach. Of course, the three works he performs have become standards of repertoire for cello and orchestra -
Schumann’s dark and often musically elusive concerto, Op. 129 (a work that was not premiered during this composer’s lifetime), Saint-Saens’s always delightful concerto No. 1, Op. 33 and Tchaikovsky’s beloved Variations on a Rococo Theme, Op. 33, under Claudio Cruz and the Royal Northern Sinfonia.
How lovely it is to hear the Saint-Saens concerto played with such sensitivity and sizzling emotional conviction throughout. Sonority is ever present in the opening movement’s winding passagework, nuanced articulation abounds in the Allegretto con moto and silky bow strokes invigorate the final movement’s fleet passagework.
Also illuminating is a sense of intimacy and astute pacing Meneses brings to the Schumann concerto’s Nicht zu schnell and the sonic richness given the meandering phrases and double-stops of Langsam. Occasionally the Sinfonia’s exuberance swallowed up Meneses’ entrances and endings, but all was adjusted in their cohesive accompaniment of Rococo variations.
So many cellists have performed or studied the Rococo (in the Fitzenhagen version) that it would not be appropriate to compare the differences – but suffice to say that Meneses offers a classy interpretation oozing with stylistic refinement and buoyancy. The theme is eloquently stated with a streamlined vibrato where each variation is infused with vigor, bittersweet lyricism and crystal-clear intonation.
Meneses has more than enough technical prowess to breeze through the tricky quasi-cadenza flourishes and rapid-fire trills in variations 4 and 5. He finds the fingerboard’s sweet spot in variation 3 to project sonorous tonal inflections and propels the final variation’s non-stop pyrotechnical passagework with full-out excitement. A gold medal performance!
If the last time you listened to a recording of solo harp was a millennium ago or never, perhaps this release featuring Elizabeth Hainen will prove an ideal experience. The harp’s magical and mystical history is center stage in selections that include works and arrangements of Couperin, Rameau and composers from the Baroque to our time.
With all the “stuff” going on in the world at present, this recording provides soothing comfort food as well as a taste of what the harp is capable of under Hainen. Each piece is delivered with overriding technical finesse and acoustic clarity which allows a soundscape of shimmering sonorities to resonate throughout the instrument’s soundboard and our ears.
Debussy’s Clair de lune, arranged and accompanied on vibraphone by husband David DePeters (he performs as percussionist with the Philadelphia Orchestra and New York Philharmonic) is enveloped in a palette of velvety overtones.
Hainen pulls out melting nuances in her arrangement of Debussy’s La Fille aux cheveux de lin prelude (The Maid with the Flaxen Hair) and spun-gold arpeggiated passagework in Zhe-Zhi Xie’s pristine Folksong, based on a traditional Chinese melody.
She transforms Metamorphosis 2 by Philip Glass, accompanied on vibes by DePeters, into a lilting elliptical tone poem. A group of pieces Bach wrote for keyboard include well-known Preludes BWV 846 and 847 from the Well-Tempered Clavier Book I and Saint-Saen’s arrangement of the Largo from violin sonata No. 5 BWV 1018.
While musicians seem to enjoy heated discussions about the correct interpretation of Bach’s music, Hainen’s account on the harp adds an exotic element to Bach’s writing and shows off her refined dexterity, particularly in this composer’s perpetual motion Praeambulum from Partita No. 5, BWV 829, transcribed by Henriette Renie.
De Peters joins Hainen on vibes in his catchy adaptation of Sting’s St. Agnes and the Burning Train from the English singer’s The Soul Cages recording. Informative booklet notes make this release a keepsake or special gift.