Gabriel Schwabe, born 1988 in Berlin to German-Spanish parents, began playing the ‘cello at age nine, studying under Prof. Catalin Ilea at the University of the Arts (Berlin) from 2000 to 2008. The recipient of many prestigious prizes, a soloist, chamber musician and recitalist, he has been artistic director of the “Resonanzen Siegburg” chamber music since 2012. Gabriel Schwabe plays a ‘cello by Francesco Ruggieri (Cremona, 1674). Pablo Casals, who in 1889, at the age of 13, found a copy of the suites in a used music store, eventually saving them from the fate of didactic exercises and restoring them to their rightful status as ‘cello works of primary importance, characterized Suite no.2 in d minor as “tragic”. Opening the Prelude in a spontaneous, slightly flexed manner, Schwabe’s strategic playing breathed freshness and a constantly lively presence of sound. Characterized by the contrast between fast runs and arpeggios in high- and low register, the artist guided the listener through the many gestures of the Allemande with a vivid, singing sound. Following a feisty, coherent, highly spirited reading of the Courante, Schwabe’s treatment of the Sarabande was meditative and intimate, his tone broad, as he explored the mysteries of the movement. Excitement, intensity and dissonance mingled with the carefree joie-de-vivre of the Gigue, concluding the performance with a sense of freedom. Choosing discrete, minimal use of vibrato, Gabriel Schwabe’s playing of the work spoke of personal involvement and youthful energy.
Born in 1882 to musician parents in Rochester, New York, Alisa Weilerstein began ‘cello studies at age four, making her debut at age 13 with the Cleveland Orchestra with Tchaikovsky’s “Variations on a Rococo Theme”. As a soloist, she has performed widely. An active chamber musician, Weilerstein also performs with her father violinist Donald Weilerstein and mother Vivian Hornik Weilerstein as the Weilerstein Trio. Highly involved in contemporary music, Alisa Weilerstein has worked extensively with composers Osvaldo Golijov, Lera Auerbach and Joseph Hallman. She is the recipient of several awards. Alisa Weilerstein plays on a 1790 William Forster ‘cello. At the festival concert, she played Suite no.3 in C major. Presenting the Prelude’s cascading 16th notes and shifting patterns with huge dynamic interest, virtuosity and temperament, Weilestein, taking the movement to its rich chordal cadenza with all its rhetorical impact, was in her element and promising to keep the audience at the edge of their seats. In the Allemande, the artist used Bach’s turns, double-stops and thirty-second notes to present the movement’s hide-and-seek elasticity and originality, still weaving some sweetness and naïveté through it. Following Weilerstein’s gregariously emotional and spectacular playing of the Courante, the Sarabande was taken very slowly, as she played out its languishing message out note by note, with melodic lines free of ornaments, save for slight vibrato used to color longer notes. Choosing to play Bourrée I with charm and elegance, her detached notes rendering it light-of-foot, Bourrée II was more singing and serious, with a tinge of pain. The Gigue, shifting from the tender to the vehement, from calm to urgency, the occasional dissonant moment hinting here at the common jig-like folk dance, bristled festively with positive energy. Weilerstein’s eye-to-eye rapport with the broad, bold character of the C major scale went hand-in-glove with her ample use of the low c string and its dramatic resonance.