The CELLO in WARTIME with Steven Isserlis

The Cello in Wartime
Claude Debussy: Sonata for Cello and Piano, L. 144 (1915)
Frank Bridge: Sonata for Cello and Piano, H. 125 (1913–17)
Gabriel Fauré: Sonata No.1 in D minor for cello and piano, Op. 109 (1917)
Anton Webern: Drei kleine Stücke, Op. 11 (1914) Four pieces played on a ‘trench cello’:
Camille Saint-Saëns: The Swan
Hubert Parry: Jerusalem (1916)
Ivor Novello: Keep the Home-Fires Burning (1914)
Traditional: God Save the King

Steven Isserlis – cello [tracks 1–11] & trench cello [tracks 12–15]
Connie Shih – piano

BIS 2312 @ £14.25 plus P&P

Gramophone There’s a viola-like reticence to [the instrument’s] sound that gives an affecting sweetness to Isserlis and Shih’s performances of miniatures…But Isserlis is back on his Stead for the four main works…these are passionate, red-blooded performances – the Debussy, in particular, is a thing of rich oils and dark charcoal…An imaginative and superbly realised disc.”

BBC Music Magazine If IKEA were to make a cello, this would be it…Sow how does it sound? In Steven Isserlis’s hands, remarkably fine – though he only uses it for a handful of evocative miniatures…On Isserlis’s Stradivarius cello, Webern’s skeletal Drei Kleine Stücke make a clever connection between this soundworld and the great sonatas of the period: maximum expression from threadbare resources…Crowning all this is perhaps the finest recording of Faure’s First Sonata I have ever heard.

About the recording …

As the centenary of the end of First World War approaches we are reminded of the great battles and the large-scale suffering. To imagine what day-to-day life may have been like in the trenches in Flanders is more difficult, however, 100 years later and with no living survivors of the war to bear witness. Poems and paintings can give us some idea – but, as this disc from Steven Isserlis proves, so can music! The main, more conventional section of the programme is a selection of cello works composed around the time of the war, by composers from three of the countries involved in it: France, Britain and Austria.This is followed by something rather more unusual, however, as Isserlis exchanges his ‘Marquis de Corberon’ Stradivarius for an instrument that was once played and heard in the trenches of Ypres. Harold Triggs, the owner of this so-called ‘trench cello’, brought it with him to Flanders from England – other soldiers, on both sides of the conflict, constructed their own violins, cellos or flutes on site, from ammunition boxes, pipes and whatever else they could get hold of. These instruments thus become a highly moving testimony to every man’s need for beauty and solace and joy, even in the middle of a battlefield. With the delicate support of Connie Shih on the piano (and in fact even pianos could be found in the trenches, even if not concert grands!), Isserlis and his trench cello transport us, for a brief moment, to a trench near Ypres during a quiet spell between skirmishes, with soldiers resting, writing home, playing cards – and with the help of the music – dreaming of a life elsewhere.

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