EVEN BEFORE CELLIST MATT HAIMOVITZ applied bow to strings, the small but ardent Caffe Lena audience was prepared for a very different experience. You don’t often see a cello travel down the aisle to the stage in that venue; you don’t offer hear a classical music performer in any venue speak as casually and compellingly as Haimovitz.
Chamber music ostensibly started out in small chambers, and this hall is as intimate as they come, a perfect environment for cello and piano. Given the world-class talent of these artists, who have impressive international careers, it can’t have been the most economically feasible stop on their itinerary, but what a boon for the audience!
Haimovitz opened the program with “Five Pieces in Folk Style,” Op. 102, by Schumann – a suitable beginning, he suggested, for a recital in a folk haven. He also explained that it’s a work that Rose shied away from because of some tricky double-stops in the third piece.
They were no challenge for the cellist, who also honored the Romantic characteristics of that movement with well-applied portamento and rhythmic effects. All five of the component pieces sound more Schumann-y than outright folk-like, but that’s an indication of how thoroughly classical music used to mine folk-music elements.
The opening piece, marked “Mit Humor,” kicks into a lively dance that Haimovitz colored, in its re-statement, with a sul tasto (bowing on the fingerboard) effect that’s just one of the many interpretive techniques he brings to his playing.
Robert Stern’s Hazkarah was written in 1998, a memorial for genocides and holocausts past and present, drawing inspiration from Ruth Bondy’s Elder of the Jew: Jakob Edelstein of Thereisenstadt – in particular, as Haimovitz explained, the line “They died because they were not allowed to live.” With the concert falling the first day of Passover during a time when more butchery is staining the Middle East, it was especially poignant.
The first half finished with Chopin’s Polonaise brilliante, a virtuoso piece in two sections that set the cello ablaze and also allowed the piano to cut loose. Golan was nothing short of masterful, sure-fingered, colorful, secure. He had a challenge trying to bully and wheedle far more sound from the Caffè’s upright than the poor instrument could produce.
One work dominated the second half: Shostakovich’s Cello Sonata, Op. 40. Again, Haimovitz talked a bit about the piece before playing it, and I wish more performers had the confidence and personality to do the same. It really helped prep the audience.
Drawing much of its thematic material from film scores he’d written, Shostakovich wove it into a four-movement that’s a characteristic ride from cynical ebullience to lyrical despair. And he’s not sparing in the challenges. The first movement’s martial flavor sent the cello from a rough-toned passage into a web of beautiful arpeggios; in the second, cello and piano chased each other with a perpetual motion figure. The Largo that followed showed off more of Golan’s superb lyricism, and the piece finished off with hilarious, touching movement originally written to accompany an animated film about a hapless drunk.
Following clamorous calls for more, the duo encored with an arrangement of the opening of Bloch’s “Scenes from Hassidic Life,” a tender work that brought the concert to a quiet close.
“Crossover” music is all the rage with the faltering classical music CD labels, who try to package pop stuff into easily digestible, NPR-friendly packages. If we had more crossover performances like this, the music world wouldn’t be in so much trouble.
Matt Haimovitz and Itamar Golan
Caffe Lena, April 16
– Metroland Magazine, 24 April 2003