BTW, I get the sense the audience applause after the first mvmt was not out of ignorance about multi movement classical music etiquette. Rather, the symbiosis generated here between these two pros sparked their eruption. It couldn't be helped. It was warranted and (in this particular case) I, for one, was not thrown nor did I mind. Did you hear? The audience response was immediate. That notwithstanding the two of them remained in the zone. Also note, the audience did not react in the same way between the subsequent movements nor did they do that infernal coughing(involuntary as a cough can be) some audiences are apt to do during recorded performance. The concentration here on both sides of the proscenium was palpable; the whole room was invested. Thanks, again for posting.
I heard this cellist perform in a live concert in Asheville, NC yesterday evening as part of a YCA On Tour program. In the Schumann Piano Trio No. 1 someone in the audience erupted with a “Bravo” in the middle o the second movement (between the scherzo and trio). Jonathan is such an amazing cellist and the trio played together as one, and the audience was just mesmerized. It was a treat to hear them play live.
I do agree. Many performers welcome that. Violinist Mari Samuelsen thinks it's a sign that people are so enchanted and so mesmerised they forget the formalities of classical music. She likes that they express their emotions spontaneously even in the middle of the movements. (Reflections x Mari Samuelsen (Wonderfeel).
What a wonderful performance! Having had the Rostropovich / Argerich (R/A) recording in my playlist for years, I appreciate this rendition for how much different it feels. This one is more intimate. While the piano part is written at a piano concerto level, the pianist managed to subdue herself so that the cello shone. Here, I've heard elements of the cello part that drowned in the R/A performance. Sometimes, even Rostropovich isn't enough to strike through Argerich's flamboyance 🙂 Thank you for sharing this with us!
