Oberon's Glade

Tag: David Finckel

  • An Evening with David Finckel and Wu Han

    Wu han - finckel

    ~ Author: Oberon

    Sunday January 28th, 2024 – Pianist Wu Han and her husband, cellist David Finckel (photo above), are the co-Artistic Directors of Chamber Music Society of Lincoln Center. This evening at Alice Tully Hall, they shared the stage to present a well-devised program of works by Debussy, Bruce Adolphe, Shostakovich, and Dvořák.

    Claude Debussy’s Sonata for Cello and Piano, composed in 1915, was initially subtitled “Pierrot is angry at the moon“. It is a charming piece in three brief movements. The opening Prologue calls for very subtle piano playing, which Wu Han is always so good at. Skittering music is heard, followed by an awakening of tenderness. The music then goes deep. Plucking cello and staccato notes from the piano decorate the Serenade, which has a jazzy feel. For the Final, swirls of notes from the keyboard and appealing melodic fragments carry the players to a fast finish.

    In 1998, Bruce Adolphe wrote Couple for Cello and Piano for Wu Han and David Finckel. The four movements suggest different aspects of an evolving relationship: the first begins dreamily, then accelerates before fading away. A warm, nostalgic feeling arises in the second movement, with the cello digging in. The slow third movement has a sentimental air, and the final section is animated and light-hearted. The composer joined the artists for a bow at the end.

    Dmitri Shostakovich’s Sonata in D-minor for Cello and Piano, Op. 40 dates from 1934. A beautiful feeling of restlessness runs thru the opening Allegro moderato; the piano glitters on high, and a lovely cello theme is heard. Plucked notes and staccati spring up, and then the music slows. The following Allegro is a kind of scherzo: a swirling dance with music that slips and slides into an insistent rhythm. The songful Largo commences with a wistful cello theme that sinks to the depths; the piano sounds a steady heartbeat. The music turns dreamy, with the piano evoking feelings of peace. The cello carries us into the minor mode, seeking a quiet ending. At last we reach the final Allegro: a big, folksy dance, full of animation. There is a grand piano ‘cadenza’ which develops a sense of irony. The sprightly cello joins, and all seems well with the world. Wu Han and David Finckel basked in a sustained standing ovation, called back for a second bow as the packed hall resounded with shouts of approval.

    In 1889, Antonín Dvořák wrote his Quartet in E-flat major for Piano, Violin, Viola, and Cello, Op. 87. For this finale to the evening’s program, pianist and cellist were joined by Richard Lin (violin) and Timothy Ridout (viola). These two young gentlemen looked very dapper, and they played superbly.

    The opening Allegro con fuoco has an urgent start. The piano takes over, leading to an anxious passage before a joyous melody arrives. We hear colorful playing from the violin and viola as they exchange phrases or harmonize, The Finckel cello adds depth to the textures. Mr Lin’s violin sings on high, and Wu Han offers luminous piano phrases. A buzzy tremelo exchange between violin and viola is a delightful touch. Brilliant playing from all!

    With a simply gorgeous cello motif, David Finckel opens the Lento, and there is magical duetting here from Mssrs. Lin and Ridout. The music turns passionate…and then charming. Achingly beautiful harmonies tug at our souls; Mr. Finckel then resumes his poignant melody, amiably supported by pizzicati from the violin and viola. There is a marvelous sheen to the sound as a progression of modulations leads us onward and Wu Han’s hypnotic playing casts a heavenly spell.

    Now comes the waltz-like opening of the Allegro moderato, grazioso with its gypsy tinge. This movement contains and endless supply of marvels, including sizzling tremelos and rhythmic tapping of the strings. Melodious, dancing phrases carry us onward.

    The gypsy spirit prevails into the final Allegro ma non troppo: a veritable celebration of Czech folk dance. Mssrs. Lin and Ridout were simply incredible here, for their beauty of tone and of expression. Together with Wu Han and David Finckel, they made this Dvořák masterpiece an exuberant statement about the power of music to inspire and reassure us in dark times. Tonight, these four artists gave us one of the outstanding musical experiences of recent seasons, reaffirming yet again the invaluable role Chamber Music Society of Lincoln Center plays in the life of the City.

    ~ Oberon

  • Esteemed Ensemble @ Chamber Music Society

    51295376_23843411079570734_7199686573439320064_n.png

    Above: the artists of today’s esteemed ensemble – Wu Han, Daniel Hope, Paul Neubauer, and David Finckel – at Chamber Music Society of Lincoln Center

    ~ Author: Oberon

    Sunday January 27th, 2019 – Four great musicians joined forces this evening at Alice Tully Hall as Chamber Music Society of Lincoln Center continued their season with a program of works by Josef Suk, Johannes Brahms, and Antonín Dvořák.

    A-1120029-1275043084.jpeg

    Josef Suk (above), the least-known of the three composers, was a prominent violinist and Dvořák’s son-in-law. Suk’s Quartet in A minor, Op. 1, dates from 1891; it was his first published work.

    From its passionate start, with the strings playing a unison theme from which David Finckel’s cello and Daniel Hope’s violin emerge in prominent solo lines, this vivid music abounds in gorgeousness . Wu Han at the Steinway brings the tempo down a bit and a flow of melodies commences. Paul Neubauer’s viola heralds a brief drama – a tempest that soon subsides, though a subtle agitation lingers. Cellist David Finckel’s darkish timbre contrasts with the high silkiness of Mr. Hope’s violin. The strings united provide a rich texture that gives the impression of a full string orchestra in play, whilst Wu Han relishes Suk’s appealing writing for the piano. A passage of soul-filling passion brings the first movement to a glorious end.

    The extraordinary softness of Wu Han’s touch at the Steinway lures us into the central Adagio. Then a cello theme of great richness is brought forth by Mr. Finckel, taken up by Mr. Hope’s violin singing sweetly on high, echoed by the Neubauer viola. The strings have a beautifully blended passage: luminous playing from all. With the rippling piano and gleaming violin, a feeling of rapture rises up. The music stops, then the cello and piano lead us into a new dream. Violin and viola harmonize as the cello offers a plucked accompaniment. The Adagio – in which the magical essence of chamber music seems to be sublimely enshrined – reaches its heavenly end, fading into bliss.

    But there’s no time for reverie: Wu Han launches the concluding Allegro con fuoco at once, the strings offering sharp accents along the way. Later the pianist produces a high shimmer – a sparkling delicacy over which the strings harmonize. Things turn folkish, with a gypsy dance getting quite expansive before a lull of calm; then on to a grand finish. 

    This was my second hearing of Josef Suk’s Opus 1 and the second time it has had the same magical effect on my. Why is this composer’s music not heard more often?  

    Next on the program was Johannes Brahms’ Quartet No. 3, Op. 60 which was written in 1855-56 and revised in 1874. The period in which Brahms began sketching this work was a very difficult time, for his friend Robert Schumann had been confined in a mental hospital; Brahms was in a highly emotional state.

    The dramatic, sorrowing phrases that open the Allegro con fuoco attest to Brahms’s troubled spirit. But the music swirls forward on the wings of a piano theme; it becomes almost celebratory but then retreats to a doleful conclusion.

    The piano is the motivating force of the ensuing Scherzo; the music is agitated, almost angry. The Andante commences with a long cello solo, expressively played by Mr. Finckel. Mr. Hope then duets with the cello; Mr. Neubauer joins in an entwining string trio; the piano has a lovely part to play. A sense of longing builds.

    The concluding Allegro, which begins with a restless motif played by Wu han and Mr. Hope. Far from the traditional upbeat finale, this one by Brahms lingers in a serious, rather pensive mood, ending with an abrupt chord.

    After the interval, Dvořák’s Quartet in E-flat major, Op. 87 (1889) was splendidly played. This quartet has its folksong aspects, especially in the outer movements. The opening Allegro con fuoco is thematically abundant, with trade-offs among the string voices and lovely piano passages. After a big, thrilling buildup, the music simmers down; there’s a very effective tremolo motif exchanged by the violin and viola before the first movement comes to its finish.

    David Finckel opened the Lento with a poetic cello melody, which is carried onward by Mr. Hope’s violin. The piano has a lyrical part to play here – charmingly rendered by Wu Han – as the themes pass thru sublime modulations. A slow dance commences, with plucked strings, and the movement finds its resolution.

    The third movement, Allegro moderato, has the feel of a waltz. From its exciting start, the music presses forward with rustic elements: the piano takes on the aspect of a hammer dulcimer. Mssrs. Hope and Neubauer match subtleties, and the violist has a final say as the movement concludes.

    The zesty Finale is a real crowd-pleaser, and, when played as it was tonight, assures itself of a vociferous reaction from an appreciative audience.

    For all the excellence of the Brahms and Dvořák, it was the opening Suk that lingered in my mind.

    ~ Oberon

  • Esteemed Ensemble @ Chamber Music Society

    51295376_23843411079570734_7199686573439320064_n.png

    Above: the artists of today’s esteemed ensemble – Wu Han, Daniel Hope, Paul Neubauer, and David Finckel – at Chamber Music Society of Lincoln Center

    ~ Author: Oberon

    Sunday January 27th, 2019 – Four great musicians joined forces this evening at Alice Tully Hall as Chamber Music Society of Lincoln Center continued their season with a program of works by Josef Suk, Johannes Brahms, and Antonín Dvořák.

    A-1120029-1275043084.jpeg

    Josef Suk (above), the least-known of the three composers, was a prominent violinist and Dvořák’s son-in-law. Suk’s Quartet in A minor, Op. 1, dates from 1891; it was his first published work.

    From its passionate start, with the strings playing a unison theme from which David Finckel’s cello and Daniel Hope’s violin emerge in prominent solo lines, this vivid music abounds in gorgeousness . Wu Han at the Steinway brings the tempo down a bit and a flow of melodies commences. Paul Neubauer’s viola heralds a brief drama – a tempest that soon subsides, though a subtle agitation lingers. Cellist David Finckel’s darkish timbre contrasts with the high silkiness of Mr. Hope’s violin. The strings united provide a rich texture that gives the impression of a full string orchestra in play, whilst Wu Han relishes Suk’s appealing writing for the piano. A passage of soul-filling passion brings the first movement to a glorious end.

    The extraordinary softness of Wu Han’s touch at the Steinway lures us into the central Adagio. Then a cello theme of great richness is brought forth by Mr. Finckel, taken up by Mr. Hope’s violin singing sweetly on high, echoed by the Neubauer viola. The strings have a beautifully blended passage: luminous playing from all. With the rippling piano and gleaming violin, a feeling of rapture rises up. The music stops, then the cello and piano lead us into a new dream. Violin and viola harmonize as the cello offers a plucked accompaniment. The Adagio – in which the magical essence of chamber music seems to be sublimely enshrined – reaches its heavenly end, fading into bliss.

    But there’s no time for reverie: Wu Han launches the concluding Allegro con fuoco at once, the strings offering sharp accents along the way. Later the pianist produces a high shimmer – a sparkling delicacy over which the strings harmonize. Things turn folkish, with a gypsy dance getting quite expansive before a lull of calm; then on to a grand finish. 

    This was my second hearing of Josef Suk’s Opus 1 and the second time it has had the same magical effect on my. Why is this composer’s music not heard more often?  

    Next on the program was Johannes Brahms’ Quartet No. 3, Op. 60 which was written in 1855-56 and revised in 1874. The period in which Brahms began sketching this work was a very difficult time, for his friend Robert Schumann had been confined in a mental hospital; Brahms was in a highly emotional state.

    The dramatic, sorrowing phrases that open the Allegro con fuoco attest to Brahms’s troubled spirit. But the music swirls forward on the wings of a piano theme; it becomes almost celebratory but then retreats to a doleful conclusion.

    The piano is the motivating force of the ensuing Scherzo; the music is agitated, almost angry. The Andante commences with a long cello solo, expressively played by Mr. Finckel. Mr. Hope then duets with the cello; Mr. Neubauer joins in an entwining string trio; the piano has a lovely part to play. A sense of longing builds.

    The concluding Allegro, which begins with a restless motif played by Wu han and Mr. Hope. Far from the traditional upbeat finale, this one by Brahms lingers in a serious, rather pensive mood, ending with an abrupt chord.

    After the interval, Dvořák’s Quartet in E-flat major, Op. 87 (1889) was splendidly played. This quartet has its folksong aspects, especially in the outer movements. The opening Allegro con fuoco is thematically abundant, with trade-offs among the string voices and lovely piano passages. After a big, thrilling buildup, the music simmers down; there’s a very effective tremolo motif exchanged by the violin and viola before the first movement comes to its finish.

    David Finckel opened the Lento with a poetic cello melody, which is carried onward by Mr. Hope’s violin. The piano has a lyrical part to play here – charmingly rendered by Wu Han – as the themes pass thru sublime modulations. A slow dance commences, with plucked strings, and the movement finds its resolution.

    The third movement, Allegro moderato, has the feel of a waltz. From its exciting start, the music presses forward with rustic elements: the piano takes on the aspect of a hammer dulcimer. Mssrs. Hope and Neubauer match subtleties, and the violist has a final say as the movement concludes.

    The zesty Finale is a real crowd-pleaser, and, when played as it was tonight, assures itself of a vociferous reaction from an appreciative audience.

    For all the excellence of the Brahms and Dvořák, it was the opening Suk that lingered in my mind.

    ~ Oberon

  • David Finckel and Wu Han

    W_006_ChamberMusicSociety_CherylynnTsushima_20170712

    Above: David Finckel and Wu Han, photo by Cherylynn Tsushima

    Due to the severe wind and rainstorm on Sunday, I had to miss the Chamber Music Society of Lincoln Center‘s program featuring Tamara Mumford and the Escher String Quartet. I was there in spirit.

    I did want to draw everyone’s attention to this wonderful article about Chamber Music’s Society’s co-Artistic Directors, Wu Han and David Finckel. They are two of my favorite players and personalities in the music world, and it’s enlightening (and fun!) to read more about them.

    ~ Oberon

  • Fantastic Finckel

    1200x1200-75

    It’s during the months of High Summer that I find time to listen to music at home. The rest of the year is taken up with live music, and with writing (and reading!) about it. But on these long, hot August afternoons, I am in my cool cavern of a room with CDs playing.

    I have a huge stack of music yet to be listened to – and even larger stacks of un-read books – but one disc that I’d been really looking to hearing was my focus yesterday: a recording by cellist David Finckel of Antonín Dvořák’s cello concerto, paired with Augusta Read Thomas’s 1999 work, Ritual Incantations, and featuring the Taipei Symphony Orchestra conducted by Felix Chiu-Sen Chen. The disc – on the Artist Led label – may be purchased here.

    The familiar Dvořák is – needless to say – beautifully played, and the concerto sounded wonderfully fresh to me. It’s the Thomas that I am savouring now, being of a type of music that is particularly appealing to me. David Finckel premiered Ritual Incantations at Aspen in 1999.

    In March 2015, Augusta Read Thomas was the subject of one of The Miller Theatre’s Composer Portraits. My friend Monica and I were drawn into Ms. Thomas’s musical world, as well as much taken with her as a personality.

    Ritual Incantations opens with solo cello in a fanfare-like summons, followed by a mystical, plaintive passage which Mr. Finckel plays gorgeously. Bells of varying textures are heard in an animated section before the cello takes up a soulful solo; incantatory chimes summon us as to prayer, and the harp lends a feeling of enchantment. Wind voices and cello converse, taking Mr. Finckel’s voice to the depths.

    The music turns lively, urgent and emphatic. There are jabs and sudden bursts from various instruments, and then again the cello sings longingly, rising upwards. A glassy shimmer ends the work abruptly. The other-worldly aspects of the music evoke uncharted distances whilst the passionate beauty of the cello writing wraps itself around the soul. I can’t stop listening to it.