Composer: Lorne Munroe
Works: Samuel Barber – Cello Sonata (1932), Marcel Dick – Four Elegies and an Epilogue for Solo Cello (1949), Arthur Benjamin – Cello Sonatina (1937), John Downey – Lydian Suite for Solo Cello (1976), Felix Mendelssohn – Cello Sonata No. 2 (1843)
Performers: Lorne Munroe (cello), Jonathan Feldman (piano)
Recording: 11, 12, 15 September 1996, Concordia College, Bronxville, New York
Label: CALA CACD0517
The recording of Lorne Munroe’s performances of a varied program encompassing works from the early 20th century to the Romantic period serves as a compelling testament to his artistry. As principal cellist of the New York Philharmonic from 1964 to 1996, Munroe’s interpretative decisions reveal a profound understanding of the repertoire, blending technical prowess with emotive depth. This collection features an intriguing juxtaposition of pieces, shedding light on both the evolution of cello music and Munroe’s interpretative journey through these distinct styles.
Munroe’s approach to Samuel Barber’s Cello Sonata is particularly noteworthy. His expansive interpretation of the first movement allows the lyrical themes to unfold with a sense of longing and introspection, contrasting sharply with Raya Garbousova’s more compressed reading. Munroe’s tonal palette is rich and full-bodied, infusing the piece with a romantic glow that enhances its emotive power. The nuanced phrasing and careful attention to dynamic shading in the second movement, Allegro, reveal a player deeply attuned to the music’s emotional landscape. This breadth of expression is a hallmark of Munroe’s style, which is both regal and sensitive, an amalgamation that serves Barber’s lyrical lines beautifully.
The inclusion of Marcel Dick’s Four Elegies and an Epilogue allows for a refreshing contrast in the program. Munroe’s performance of this work, which he premiered, is intimate and engaging, presenting the cellist as a storyteller. The Elegies are imbued with an ethereal quality, and Munroe’s ability to elicit a round, tonal sound enhances the work’s emotional resonance. His articulation, particularly in the Epilogue, conveys both the weight of memory and the lightness of reflection, illustrating his technical command and interpretative insight.
Arthur Benjamin’s Cello Sonatina, composed for Munroe when he was merely thirteen, is delivered with a charming innocence and a delightful swing, particularly in the Minuet. The interplay between Munroe and pianist Jonathan Feldman is seamless, each supporting the other while maintaining the lively character of the piece. This collaboration highlights Munroe’s skill in navigating the delicate balance between spontaneity and formality, further showcasing his versatility.
John Downey’s Lydian Suite brings a contemporary voice to the collection. Although the piece may initially appear challenging, Munroe’s warm tone and unforced eloquence render its modal inflections accessible. The outer movements’ lyrical qualities contrast with the vigorous central Presto, allowing Munroe to demonstrate a wide emotional range.
The Mendelssohn Cello Sonata, the largest work in the collection, feels somewhat out of place in this eclectic assortment. While Munroe plays it fluently, the performance lacks the exuberant spontaneity that characterizes the composer’s earlier chamber works, such as the Octet. The Allegretto scherzando, however, is beautifully decorated with harp-like embellishments, revealing Munroe’s capacity for lyrical delicacy even in less engaging repertoire.
The recording quality throughout is commendable, capturing the warmth of Munroe’s cello sound and the clarity of Feldman’s piano. The engineering effectively balances the instruments, allowing the subtleties of their interplay to shine without overshadowing the solo lines.
This disc serves not only as a showcase for Lorne Munroe’s eloquent musicianship but also as a valuable addition to the canon of cello recordings. Each work is expertly interpreted, with the Barber, Benjamin, and Dick pieces standing out as particularly compelling contributions to the cello repertoire. Munroe’s artistry suggests a deep connection with the music and a desire to convey its emotional depth. The New York Philharmonic was indeed fortunate to have such a formidable talent in its ranks for over three decades, and this recording affirms that legacy.
