This year the Queen Elisabeth Competition is dedicated to the cello and we see how the music world is feverishly busy with preparations. The Fontenelle & Sanlidag performance took place under the auspices of the Belgium Cello Society (BCS) and honours the concerts where award-winning artists are brought to the stage.
On behalf of the BCS, Han Bin Yoon introduced the musicians and the repertoire, emphasizing the love and passionate efforts to bring the cello to the attention of the public.
The second laureate of the International Cello Competition Buchet 2020, Pierre Fontenelle, a versatile artist who masters a wide range of cello compositions, taught himself cello from the age of eleven in Seattle. He is now a teacher at the IMEP (Namen) and continues to keep up with contemporary musical developments in America. Fontenelle chose to play on his Ruggieri cello from 1690. An instrument with a velvet tone that, according to him, is better suited for romantic repertoire and for small ensembles in intimate spaces such as we had in the Boondaelkapel. Fontenelle also plays on a Vuillaume cello from 1860 that has a fuller sound and was donated by the King Baudouin Foundation.
Cansu Sanlidag, a solo pianist known for her expressiveness, began her music studies at the age of seven in Turkey, after which she further educated herself at the Royal Conservatories of Bergen, Brussels and subsequently in Vienna. During her solo recitals throughout Europe, she is praised for precision and moving performances. She shows interest in unpublished works by Ysaÿe for violin and piano, performs as an accompanist at master classes and is working on a solo album for Pavane Records. This time she played on a Yamaha piano.
Ludwig van Beethoven's – 12 Variations on "Ein Mädchen oder Weibchen", WoO 46 – written in 1796 at the beginning of romanticism, on Mozart's Papageno aria from Die Zauberflöte. Beethoven's personality comes to expression here in an early form, innovative in the variations, which he approaches and provides with a refreshing meaning. His innovative harmonization confused the music world upon its appearance; his composition, initially controversial, was convincingly valorized by our performers and masterfully interpreted.
A piece in which the full possibilities of the cello are explored is Pampeana No. 2, op. 21 by Alberto Ginastera (1916-1983). Inspired by love for his Argentine homeland and the people's struggle for freedom, he transferred this fiery passion into a cello-piano duo that makes high demands on technique and expression. Through abundant vibrato and scherzo, the use of crescendo/diminuendo dynamics, forte-fortissimo intentions, accompanied by a moving piano that lends jazz sonority, the artists fed our imagination. Through the instrumental duet, the pampas cry out, wail, speak and sing, and bring other voices to silence.
The repertoire continued with Nikolai Myaskovsky (1881–1950). A composer of Polish descent, but in military service in Russia, who studied under Rimsky-Korsakov, became friends with Prokofjev and met other composers. The Cello Sonata No. 2 in A minor, op. 81 is dedicated to the great cellist Matislav Rostropovich who performed it with Svjatoslav Richter on the piano. This piece saved Myaskovsky from politically imposed cultural censorship and accusations of elitist formalism. Fontenelle, who has a preference for this piece and was assisted by Sanlidag, found resonance with the audience.
The journey continued to the Ballade in D minor, op. 3 No. 1 by Josef Suk (1874-1935). The piece led us into the reveries of late romanticism, impressive in its elegant, mysterious interpretive manner.
The final moment was reserved for the sublime Cello Sonata in D minor by Frank Bridge (1879-1941), an English composer, violist and conductor. The outbreak of WWI caused a trauma that led Bridge to distance himself from traditional romanticism and turn to modern expression. While listening, an appreciated rapture arose, attuned to the experimental interests of the musicians.
The audience responded enthusiastically to this cultural gift and the artists thanked them with an encore: Bifu/Briesje by Japanese composer Somei Satoh, (1947°). A deep meditative mood enveloped the listeners as broad bows merged with a fleeting undulating piano sound.
Fontenelle's playing pleasure was remarkable, not least thanks to the close accompaniment of the pianist. Sanlidag developed a keen sense for the playing nuances of her stage partner. She anticipated the intentions of the cellist and contributed significantly to the success of the performance. We noticed a close interaction between cello and piano, which expressed aesthetic vision. This testifies to a competence that we like to see on stage and that – hopefully – will bear fruit for a long time to come.
