‘I find Haydn’s music to be more earthly than Mozart’s — it’s more surprising as well. As a solo cellist I’m of course very grateful to Haydn for composing his two fine cello concertos, and although the D major concerto is more lyrical than the C major concerto that was composed twenty years earlier, I love both works equally. They both demand a virtuoso style of playing, but the D major concerto has more depth. I first played the C major concerto when I was ten years old, the D major concerto somewhat later. At that time my playing was very much based upon my own intuition, but it was thanks to my father, the cellist Yke Viersen, that I was made to study scores as closely as possible from a very young age and to know how important it was to realise the composer’s intentions as embodied in the score as closely as possible.
TracklistPlease note that the below previews are loaded as 44.1 kHz / 16 bit.
Total time: 01:15:33
|Original Recording Format|
Paul Janse, Arnout Probst
Tom Peters, Arnout Probst
Waalse Kerk Amsterdam Holland
|Recording Type & Bit Rate|
|Release Date||March 27, 2015|
A disc of extraordinary playing – this is so good that the playing on “period” instruments that it really does sound as though they could be using modern instruments in HIP. It has me smiling from ear to ear every time it graces my player.
With fast tempi, although never rushed, the ebullient music is frequently absolutely exhilarating – a very refreshing change from the staid approaches that used to abound the catalogues of LP & RBCD. The more reflective movements are given space to breath and sing.
Throughout Quirine Viersen has sufficient technique and an informed musicianship to shape the lines most convincingly as well as adding “impromptu” ornamentation that beautifully embellishes the music. The only manners portrayed in the concertos are that of good taste. The sheer energy and sense of vivaciousness is awe inspiring.
In de concerti speelt Quirine Viersen met een donkere, wat zware klank die haar cello bij momenten de nodige ernst verleent. De mineur passage uit het concerto in Do groot bijvoorbeeld, krijgt zo een extra dramatisch kantje. Maar het is opmerkelijk hoeveel kleur Quirine Viersen in beide concerten kan steken, binnen het wat monochrome palet dat de darmsnaren op haar cello toelaten. In de hoogte klinkt zij met een gesluierde, wat hese klank, bijna volledig vlak, die deze muziek veel beter past dan een opgewonden ‘prima donna’ toon met een veel te snelle vibrato. En hoewel ze behoorlijk scherpe accenten kan geven, verliezen snelle passages nooit hun lichtheid.
Viersen proves to be an engaging soloist. She brings great imagination, colour and above all spontaneity to her performances of Haydn’s two cello concertos. Her turns of phrase can be surprising: with an array of subtle shades of colour and dynamics at her disposal no two phrases are the same. She happily deploys vibrato, not indiscriminately but as a targeted colouristic device. This variety makes for riveting accounts of the outer movements of each concerto but does not get in the way in the slower music. Her account of the slow movement of the C major concerto has a wonderful singing quality and her generous legato phrasing in the first movement of the D major is simply ravishing, but not at all overblown.
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