English liner notes
Jules van Hessen in conversation with Roeland Duijne
Dutch cellist Roeland Duijne proudly presents this Russian cello album. He has assembled an appealing compilation of gems from the cello repertoire – music that he has performed with his characteristic tone on many stages throughout the world including those four live recordings. Live recordings are generally less characterized by technical perfection, but reflect artistry and atmosphere better than polished, sometimes somewhat sterile studio recordings. The repertoire he has chosen is tailor made for him and his musical companion: the Giuseppe Sgarbi cello (1853).
Roeland has chosen recordings of Tchaikovsky, Rachmaninov and Kabalevsky, accompanied by the Magogo Chamber Orchestra, the Irish Chamber Orchestra, the Philips Symphony Orchestra and his regular piano partner Rie Tanaka.
Mission
Roeland is averse to conventions and is not really interested in the usual programme explanations. He supports my mission to make “classical” music more accessible to a broader and younger audience in a light-hearted, but expert manner. We have been able to share the stage countless times over the past 40 years. That is why we have chosen to summarize the much needed information in a conversation, and hopefully, illuminating interview.
Nationalism
A Russian album, does that mean for you that the music has more in common than just the fact that the composers are from Russia?
In general, I am cautious about interpreting the soul of a country because I am allergic to nationalism (source of much evil).
Broadly speaking, Russian music begins with Russian Orthodox church music and folk music. There has been little development since then: the Russians have hardly any Baroque, Renaissance or Classical music of their own. Until the 19th century, Italian, French and German composers dominated secular music in Russia. There was a constant struggle as to whether the country should be European or Asian in character. With Glinka (1804-1854), Russian ‘classical’ music was formed at the beginning of the nineteenth century and Glinka’s decision in principle to choose folk melodies as the basis for his music was adopted by the generations that followed him. And they were right, because folk music in that enormous empire had a lot to offer.
Champions
In my opinion, the common denominator is that all three composers are “champions in making melodies”. Something to be commended, especially from Rachmaninov and Kabalevsky, who had to deal with the rise of the avant-garde during their careers.
Russian School
Can you speak of a Russian sound or playing style?
I think the great thing about the Russian School of pianists, violinists and cellists is the pursuit of a solid technical basis and complete mastery of the instrument. Even if they had the same teacher they all have their own unique sound. In Russia, families move thousands of miles if it turns out that a child has an exceptional musical talent. The parents sacrifice themselves. That’s a different mentality. These kids throw everything they have into the music. And you can hear that submission in their playing.
Since globalization and the rise of the internet, there is of course much less of a Russian, French or American school and music is also played at the highest level in Asia.
Rostropovich
Do you also have an inspiring example within that Russian school?
I see Rostropovich as one of my great cello heroes. I still think his recording of Dvorák’s Cello Concerto and Tchaikovsky’s Rococo Variations with the Berlin Philharmonic from 1969 is the most beautiful cello album. I was glued to the radio when he made his Concertgebouw debut with these works (including Haydn’s cello concerto) in the early 1970s. During my four years of study in Paris (he lived there at the time) I didn’t miss any of his performances. I have experienced countless world premieres. In any case, more than 100 works (including by Shostakovich, Prokoffiev, Dutilleux and Britten) have been dedicated to Rostropovich.
Commitment
Rostropovich was socially committed: he offered Solzhenitsyn shelter and openly supported Shostakovich. As a result, he was forced to emigrate to the West. Before his death in 2007, he was reinstated by Putin and given a state funeral. He would undoubtedly turn in his grave if he knew what is happening right now.
I see Rostropovich’s technique and tone as my ideal image, so my aim is to approach that as much as possible, while naturally doing everything I can to put my own passion and energy into it as much as possible.
Versions
An illustrious predecessor of Rostropovich was Anatoli Brandukov, for whom Tchaikovsky (1840-1893) created the instrumentation of the Nocturne in D. Ultimately, we have three versions: one with orchestra, the cello-piano setting and of course the instrumentation with strings that is on this album. Which one do you prefer?
All three are beautiful and I have played all three a lot, but this one is my favourite. Many tonal colours can be achieved with a string orchestra, while playing without a conductor invites everyone even more to really make chamber music together. I remember a special moment I had during this recording. When the main theme returns there is a beautiful dialogue with the concert master. I thought this “conversation” with the leader of the Irish Chamber Orchestra was an absolute highlight.
Euro
By the way, I still cherish another nice memory of this recording: it took place exactly in the period when the Euro was introduced, which meant that certain concerts by different ensembles/orchestras were selected to be broadcast widely in Europe. Quite exciting of course.
Halfway through the work, Tchaikovsky writes a short cadenza (passage without accompaniment). Nowadays it is fashionable for soloists to play their own cadenzas. Have you considered that here?
To be honest, hardly. On a rainy afternoon I briefly experimented, but I quickly discovered that the original notes are so accurate, expressive and effective that they cannot be matched, let alone surpassed.
The Rococo Variations by the same composer are also on the album in an instrumentation for cello and string orchestra?
Yes, and this was also a world premiere: Dutch arranger Ward Veenstra has created this beautiful version for cello and string orchestra, which is now making waves worldwide. It is the first time that this string version by Veenstra has been recorded on CD. Very clever that he has arranged it in such a way that you don’t miss the wind instruments at all.
Mysterious theme
The title “Variations on a Rococo Theme” seems to suggest that Tchaikovsky used an existing melody from the Baroque period as a basis. Do you perhaps know who might have written that?
That is untrue: it comes from Tchaikovsky himself! In a cheerful mood he sang a melody extemporaneously in the presence of his friend, the cellist and teacher at the Moscow Conservatory Wilhelm Fitzenhagen (1848-1890). Tchaikovsky is said to have said: ‘I feel good, a bit rococo’, to which the cellist replied: ‘Put it on paper and make variations on it!’ Fitzenhagen himself would be the soloist at the premiere in 1877.
Masterpiece
It has therefore become a showcase for the cello, because you can demonstrate so many possibilities and colours of the instrument.
Each variation has its own character without disrupting the cohesion, which for me makes it a real masterpiece.
The most difficult one is undoubtedly the last. Perhaps it was not 100% perfect during the live recording. But at least the infamous octave passage at the end fortunately went very well. That cannot entirely be said of the aforementioned beautiful recording by the brilliant Rostropovich…
Yet my heart goes out most to the two slow variations: both get the most out of the cello and the interplay with orchestra is unparalleled.
This preference probably stems from my passion for beautiful, broad melodies.
Human voice
When I hear this, I can very well understand your choice for the Vocalise of Rachmaninov (1873-1943). It is perhaps the ultimate example of an intense, expansive melody. Rachmaninov originally composed it for tenor, but the piece owes its fame mainly to the countless sopranos who have included the piece in their repertoire.
That’s true, but many instrumentalists nowadays play the Vocalise, and they do so with the argument that their instrument is most associated with the human voice. With all due respect for their position, I hope to prove that the cello has the best right to that description.
Old-fashioned
It is a typical romantic melody. Was Rachmaninoff a bit outdated as a twentieth-century composer?
I have absolutely no problem with that, the music is simply beautiful and it doesn’t matter to me in which century it was written. Dmitri Kabalevsky (1904-1987), composer of the last piece of the album, also received the same criticism (Cello Concerto in G minor op.49). He is often spoken of with some disdain. Also because of his conservative style, but perhaps even more because of his apparent loyalty to the regime. There is at least one comment to be made about this, because behind the scenes he supported his colleague Shostakovich. And that he is old-fashioned from a musical point of view: I completely disagree: novelties are subtly hidden. In the orchestration, the structure and, for example, the use of pizzicato in the solo part in long passages can certainly be considered innovative.
Advocate
Technically speaking, you will also get your money’s worth as a cellist and there is certainly plenty of depth. The second part forces you to dig deep into your soul: it is a moving tribute to the fallen Russian soldiers in the Second World War. I also think it’s brilliant how Kabalevski allows you as a soloist to enter into dialogue with individual wind players. In this he proves to be just as great a master as Tchaikovsky and Rachmaninov. In short, with this recording I would like to be an advocate for this underrated composer.
Thank you, Roeland, for this conversation. Let us wish the listeners lots of inspiration and beautiful moments when listening to this CD.
Amsterdam, July 1, 2024