Michal Kaňka - Cello

Domů

Kritiky

Vyšlo v: Japan

Autor: Shiraishi

Datum vydání: 20.5.1917

Kyoto Shinbun Newspaper (evening edition), 20th May 2017 Michal KANKA – Cello recital Poetry of sounds without words

The Kyoto Concert Hall (Sakyo Ward, Kyoto Prefecture) chamber music series ‚KITAYAMA Classic Club Series‘, where one can enjoy an atmosphere of relaxing music and which are performed at the small hall [Ensemble Hall Murata], is now in its second year,. On 18 April, Czech cellist Michal Kanka made his appearance for a performance.
Kanka is a genius who provides excitement to his listeners with provocative selections of music, which includes having played 12 unaccompanied works in 2013 in Osaka. On this day, he gave a joint performance with pianist Iku MIWA with a programme only of Schumann and Rachmaninoff works.
The Schumann ‚Adagio and Allegro‘ created a Romantic school feeling in one go with the deep breath of the first note. Miwa's piano playing was also soft, and felt like a reliably authentic response.
The richness of the shadows by the varicoloured bow handling in the second piece and the liveliness of the expectation of impatient stagnation in the third piece were indeed songs, and by extension ‚songs without words‘, a poetry of sounds without words.
In the Rachmaninoff work performed in the latter half, the story-telling changed abruptly.
In the ‚Melodie‘ Op. 3–3, the music made its way down into the depths of bass sound, breathing from the clear singing of the mid-range sound, and finally disappearing as if ascending the heavens. This was an excellent short piece played as one long-drawn breath.
The well-known ‚Vocalise‘ was put together in a duet style – not sung with the same tone, but with the spotlight on the piano in the latter half.
Lastly, in the ‚Cello Sonata‘, I could feel that if Kanka seriously aspires to glorious music, then Miwa's steady piano was just a little lacking. However, to that extent the exquisite aspect of this work, which resembles Chopin last sonatas, could be seen.
Tomo-o SHIRAISHI (critic)


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