Composer: Shostakovich
Works: Cello Sonatas; Rachmaninov Cello Sonata, Op. 19
Performers: Gwyneth George, cello; Alberto Portugheis, piano
Recorded: Christ Church Chelsea, October 1970 (Rachmaninov) and February 1971 (Shostakovich)
Label: Guild GMCD 7219 [54:56]
The recent reissue from Guild of performances by cellist Gwyneth George and pianist Alberto Portugheis offers a compelling perspective on Shostakovich’s Cello Sonata Op. 40 and Rachmaninov’s Sonata for Cello and Piano, Op. 19, recorded during the early 1970s. These performances, while faced with formidable competition from the likes of Tortelier and Ciccolini, Fournier and Fonda, and Shafran and Pecherskaya, present a unique interpretation that merits careful examination.
Starting with the Shostakovich Sonata, the collaboration between George and Portugheis reveals a profound understanding of the piece’s intricate interplay. The sonata, composed in 1934 during a politically charged period in Soviet Russia, is rife with emotional depth and complexity. George’s lean tone is imbued with an attractive core, allowing for a nuanced exploration of the work’s inherent contradictions—between lyrical beauty and stark desolation. Her ability to maintain a sense of direction throughout the sonata’s varied sections creates an engaging narrative arc; notably, in the second movement’s intense dialogues and the lyrical third, where her phrasing brings out the poignancy of Shostakovich’s melodic lines.
Portugheis’ contributions are equally commendable. His playing is technically assured and musically insightful, particularly in the way he balances the piano’s often percussive nature with the cello’s singing voice. The duo’s commitment to chamber proportions allows for a remarkable level of dialogue, especially evident in the conclusion of the final movement, where the contrasting themes collide with a sense of both urgency and resignation. Their performance achieves a rare intimacy that invites listeners into the emotional landscape crafted by Shostakovich.
In contrast, the Rachmaninov Sonata, while still engaging, does not reach the same heights of interpretative synergy. George’s playing here, though technically proficient, exhibits a tendency to sacrifice tonal variety in favor of architectural clarity. The Andante, a movement often suffused with romantic sentiment, feels somewhat muted in its emotional resonance. Portugheis’ approach to the lyrical lines may occasionally overshadow George’s voice, resulting in a performance that, while structurally coherent, lacks the fervor typically associated with Rachmaninov’s lush melodies. The reluctance to indulge in the music’s inherent romanticism leaves certain passages feeling underexplored; the Andante’s potential for poignant expressiveness, for instance, could benefit from a more dynamic interaction between the instruments.
From a recording perspective, the engineering captures the essence of both performances well. The sound is natural and balanced, allowing for the clarity of George’s cello and the harmonic support of Portugheis’s piano to shine through. This quality is particularly advantageous in chamber works, where the delicate exchanges between musicians often dictate the success of the interpretation.
The historical significance of these works cannot be overstated. Shostakovich’s Sonata, composed in the context of artistic oppression, reflects a complex emotional landscape that resonates with contemporary audiences. Rachmaninov’s Sonata, on the other hand, represents the pinnacle of late-Romantic expression, rich in thematic material and emotional depth. Both compositions serve as touchstones in the cello repertoire, and they benefit from performances that honor their historical weight while also bringing fresh insight.
In conclusion, George and Portugheis’s interpretations present a mixed but ultimately rewarding exploration of these essential works. The Shostakovich Sonata emerges as the standout performance, characterized by a sympathetic understanding of its chamber music qualities, while the Rachmaninov lacks some of the depth and passion one might desire. For those who prioritize intimacy and tonal reticence in chamber music, this disc offers significant rewards, making it a commendable addition to the catalog of recorded cello works. The historical contexts of both compositions remain ever relevant, and this recording serves to illuminate their enduring power.
