Oh my goodness, I LOVE this interpretation! Both artists are very technically secure, but rather than weighing down the piece with flashiness, they actually back off in a few places and avoid the banality that is too often the tendency with this underrated piece. Some folks might find Mr. Philippe's facial expressions a bit much, but it's a small price to pay for such gorgeous, controlled sound (and yes, that extra glissando around 10:00 is a bit naughty but sweet). Mr. de Williencourt's accompaniment is spot-on, too. This is a live performance, and I've owned studio recordings that aren't as good.
Thank You; Very Much; Sir Bruno Philippe; For Inspiring Me Towards Using Your Beautiful "Classiques De La Sound; And Musique;" As Motivation Towards My Body; Please Work Towards Musique And Its Continuation; For You Are Embodied For Musique; For You Seem To Add Much To What Is Deemed; Traditionally; "As Motion To Sound;" You Are Beautiful and Your Sound And Its Motion Is Most Ideal; In Its Art And Its Form.
My little sister is 8 and plays the cello at the Salzburger Motzarteum, she goes: “With a 5 Grand cello I would never follow on the steps of Yo Yo Ma.” My dad say, “it still burns a hole in my hard all that bread if you end up playing with Mariachis in Vegas."
