Răzvan Suma (cello, above – photo credit Adrian Stoicoviciu), Rebeca Omordia (piano, below)
Romanian Cultural Institute, London, Thursday 9th March, 2017
Delius Romance (1896); Ireland Cello Sonata in G minor (1923); Elgar Salut d’amour, Op.12 (1888); Venables Elegy, Op.2 (1980); Matthew Walker Fast Music, Op.158 (2016); Enescu Allegro in F minor (1897); Lloyd Webber Nocturne (1948); Bridge Scherzetto, H19 (1902)
Written by Richard Whitehouse
It is not often musicians get the chance to tour unusual repertoire, though Răzvan Suma and Rebeca Omordia have been doing just so with a recital of mainly British music which tonight arrived at the Romanian Cultural Institute as part of its enterprising Enescu Concert Season.
Playing continuously for just over an hour, their choice of music made for a varied as well as cohesive programme. Opening with the discreet charm of Delius’s early Romance, its echoes of Grieg and Massenet not precluding a more personal expression, the duo continued with an account of Ireland’s Cello Sonata that was a world away from the sombre introspection most often associated with this composer’s chamber output. After a taut and impulsive take on the initial Moderato, the slow movement exuded an anxiety that motivated the expected fatalism, then a finale whose tensile progress resulted in a peroration of unusual eloquence and resolve. Certainly, Ireland’s music only stands to benefit from such a forthright approach, and it is to be hoped that Suma’s and Omordia’s advocacy will continue long beyond their present tour.
The performers’ Romanian lineage was acknowledged with a propulsive account of Enescu’s Allegro in F minor that seems to have been a ‘dry run’ for the opening movement of his First Cello Sonata. The suave second theme is almost identical and while the stormy main theme of this piece is a little short-winded, and its development lacks focus compared to that of the sonata, the impetus sustained here is demonstrably greater than is found in its more rhapsodic and discursive successor. Such, at least, was the impression left by this persuasive rendering.
The recital concluded with two further miniatures by English composers. Rediscovered only after his death, the Nocturne by William Lloyd Webber evinces an appealing soulfulness the greater for its brevity: to which the early Scherzetto (also relocated posthumously) by Bridge provided a telling foil in its capricious humour and flights of fancy. It certainly made for an appropriate ending to this well-conceived and superbly executed programme; one, moreover, that is eminently worth catching at one of the subsequent appearances by this impressive duo.