Cellist
Steven Isserlis makes a convincing argument for the importance of the years 1878 to 1888 for the combination of cello and piano. However, its importance may be a little fuzzy given there are selections on
Golden Cello Decade that weren't originally written for cello nor from the given years. However,
Isserlis programs an intriguing group of music that is right in his wheelhouse. The trademark sound of his playing fits the mood of these expressive tunes, and pianist
Connie Shih is a perfect foil as the musicians enjoy impassioned conversations.
Max Bruch's
Kol Nidrei, here in its version for cello and piano (rather than orchestra), is arguably that composer's most popular piece and among the most important from its time. Between
Isserlis' familiarity with this work and the established musical relationship between
Isserlis and
Shih, who are joined on this track by harpist
Olivia Jageurs, it is a lovely recording. One of the major attractions on this album, and the reason the title's decade oddly begins in 1878 instead of the top of the 1880s, is the
Cello Sonata in D major, Op. 17 of
Luise Adolpha Le Beau. Nearly forgotten,
Le Beau's work was brought to
Isserlis' attention through social media prompting. Submitted to the same 1880 competition as
Richard Strauss' youthful
Sonata in F major, Op. 6,
Le Beau's sonata has some enchanting melodies and is certainly an item worth rediscovery, though it is unlikely to attain the same level of regard as other works in the genre.
Isserlis and
Shih give this work a thoroughly entertaining performance which one could easily see as the benchmark for future generations of cellists. Other attractions here are the final two works, both of which are rarely heard, but particularly
Oh! weep for those by
Isaac Nathan, from his Hebrew Melodies for voice and piano, which features the poetry of
Lord Byron.
Bruch's composition borrows a melody from this work, and it makes a quality bookend to the much more famous
Bruch selection. While the album title might be a stretch, these are fine performances, and listeners will benefit from multiple hearings. ~ Keith Finke
