Cellist presented his skills with the most demanding music in the cemetery church.
Wuppertal. Anyone who needs to change his concert program because of force majeure is usually safe. It is not uncommon to select pieces which do not meet the highest technical requirements because the preparation time is very short. The Israeli-American cellist Amit Peled had no such attitude. He came to the cemetery church with works, which are a test-piece of every instrumentalist, on which - in a casual manner - the chaff separates from the wheat.
Johann Sebastian Bach's first Cellosuite in G major (BWV 1007) is technically very demanding. No less than the legendary cellist Pablo Casals (1876-1973) once said about the cycle of the six suites: "They are the quintessence of Bach's work, and Bach is the quintessence of all music."
The Arpeggione Sonata by Franz Schubert is one of the most demanding and delicate pieces in the cello repertoire. This is because the work was composed in the original for the Arpeggione (a six-string hermaphroditic guitar and cello), which has fallen into oblivion. What was playable on an Arpeggione is a real challenge on the cello.
The "Hungarian Rhapsody" op. 68 is no match for this high level. A heavily heavy cadence triggers the other, accompanied by neck-like fast runs and tone repetitions. It is a piece of par excellence.
Strict sound and sharp accents
With a stringent discreet tone and sharp accentuations such as phrasing in the fast dances, Bach's masterpiece came from the famous Casals cello. Smooth layer changes contributed to the fact that the Schubert sonatas "sang" incredibly beautifully. The highest virtuoso class was to be enjoyed with Poppers' exuberant rhapsody.
On the basis of Max Bruch's "Kol Nidrei" op. 47 and as an encore to a Jewish prayer of the Swiss-American composer Ernest Bloch (1880-1959), Peled also bowed to Judaism. He was extremely touching and touching, with a soft, warm singing piano, he captivated the numerous audiences.
Apart from Bach's Solowerk, his friend and piano accompanist Stefan Petrov was a congenial partner to him. Sensitively he walked with the wing. His in-breathing, never-in-front style of playing had a big part in the fact that Peled was able to design his exciting musical lines with a great inner peace.
The first-class chamber concert concluded with enthusiastic, long-lasting applause. Thus the concert company Wuppertal as a concert organizer thanks to the great initiative of Loretta and Werner Ischebeck again.