abril 09, 2007
MADAME SUGGIA NO WIGMORE HALL- 10 de FEVEREIRO DE 1936
Wigmore Hall - SUGGIA – Recital – Monday
February 10, at 5,30 – Pianoforte GEORGE REEVES
(…) Those left-hand fingers like steel and velvet, that bowing like silk and thistledown. But Suggia the consummate stylist can never be taken for granted; she plays in a way that bestows freshness upon even the most hackneyed things.
One felt she had gone so deeply into the compositions played that she had reached the common denominator behind them – melody, that great life force of music. In a sonata by Valentini and two pieces by Boccherini, Suggia’s exquisite rendering of the melodic line taught one that in these old solo sonatas everything grew out of it, even the accompaniment was but an aura, thrown out from the melodic line.
Bach suite in G for cello alone went further, for he had designed the solo part to contain in itself the implications of melody, counterpoint, and centred so completely that one never noticed the absence of accompaniment.
She gave us another phrase of melody in Beethoven’s sonata in A Major for cello and piano. Here the concurrent melodic lines of the two instruments were carried on with an agreement in phrasing and a delicacy of contrasting timbres that delighted the imagination as much as they charmed the outer ear. Special recognition is due to Mr Reeves for the restraint he exercised over the bass of the piano, and for the peculiarly limpid quality of his treble cantilena. A group of cello solo pieces completed the programme.
MUSICAL TIMES – Março 1936