CELLO & PIANO DUO RECITAL / QIN LI-WEI & KATHRYN STOTT / Review

 

CELLO & PIANO DUO RECITAL 

QIN LI-WEI, Cello 

KATHRYN STOTT, Piano 

Victoria Concert Hall 

Saturday (31 August 2024)

This review was published in The Straits Times on 2 September 2024 with the title "Pianist Kathryn Stott bows out with dazzling duo recital with cellist Qin Li-Wei"

It was 30 years ago when British pianist Kathryn Stott opened the inaugural Singapore International Piano Festival by giving its first-ever piano recital at Victoria Concert Hall. After a storied performing career of 45 years, Stott has called time on playing in public. This recital in partnership with Australian Chinese cellist Qin Li-Wei, in the very same venue, was part of her farewell tour. 

Although this was their first collaboration together, both Stott and Qin played like long-time friends who have had loads of chamber music experience behind them. This was immediately apparent in an all-Romantic programme which opened with Robert Schumann’s Fantasiestucke (Fantasy Pieces) Op.73. The deliberate tempo adopted for the first piece established the credo that lyricism rather than mere outward virtuosity would dictate the proceedings. Melodic Schumann has few rivals, a constant thread that united all three pieces even as the pace was upped by the duo for a fiery close. 

Photo: Ung Ruey Loon

In case one wondered if the cello was the dominant force, Hungarian nationalist composer Zoltan Kodaly’s single-movement Sonatina proved the converse. A lengthy introduction on piano established its credentials as an equal partner, with Stott’s well-hewn chords and accompanying figurations more than supporting Qin’s heartfelt plaints in this folk music inspired tone poem. 

Photo: Ung Ruey Loon

The sombre and reflective mood established in the mini masterpiece carried over to the first of the recital’s two major works, Johannes Brahms’ Cello Sonata No.1 in E minor (Op.38). Again, both cellist and pianist were on the same page throughout in the cut and thrust of its discourse. There was a lightening of spirit in the second movement, a dainty dance with a dreamy Trio section by way of contrast. The busy finale’s play of fugal counterpoint was very well-handled, the obvious virtuosity of both players coming to the fore for a frenzied finish. 

With the gloves finally coming off, Sergei Rachmaninov’s very popular Cello Sonata in G minor (Op.19) made for a dazzling second half. A work where the piano could easily overwhelm the cello, that never happened here. Stott’s sensitivity and Qin’s generous tone ensured the balance to be en point throughout the first movement’s eventful development and the boisterous second movement. 

Photo: Ung Ruey Loon

Both instruments were hand and glove in the glorious Andante slow movement, six concentrated minutes of melodic bliss and lushness that was never allowed to descend into sentimentality or schlockiness. The finale was fuelled mostly on ecstatic climaxes, before closing with the exultation the late Russian Romantic was famous for. 

Photo: Ung Ruey Loon

Long and loud applause was rewarded with three delicious encores. Argentine tango-meister Astor Piazzolla has become the flavour of our age, his wistful Milonga in D minor and the swinging swagger of Libertango have yet to sound like old hat. Rachmaninov, however had the last word, with his gorgeous Vocalise entrancing the well-filled house as Qin and Stott made their final bows.