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Hangszer és Zene
June 2008
Dance of the Elves
Children grow up and everything goes along the way we like it, but in a different language. We might mark the slightly boring fact that life is short of sentimental wisdom, but it can be surprisingly true in certain contexts like when Ildikó Szabó played together with her father, Péter Szabó at a Hagszer és Zene night, at the time only as an outstandingly talented child. The cellist, born in 1993, has a new album with Hungaroton, now with an adult sound. The richness and power could already be discovered a couple of years ago in her performance; now they both became more stable and virtuoso thus making the "Gems of cello literature" release more highly qualified. The disc contains the probably most lovable pieces of the cello repertoire; the composers increase the intensity and depth of emotion to their utmost limits. It is a game with what sound can take up and depict. The fine and emotional, fast and vehement moments follow each other. In those latter parts the performer can show her skills - Ildikó Szabó chose bold, extreme tempos, and the best is that she carries it through! The first piece, the Bumble-bee starts in a breakneck speed; normally one would get to the end of the piece without repeats in the same period. Everything is in its proper place, the sounds bite, because altough they follow one another smoothly and quickly, all of them have a nucleus and depth in itself. The starting of the bigger surfaces are almost
explosive, still, one can hear her internal reserves. The young cellist has developed her means of expression over the last years, beside the enjoyable flow of intensity she is capable of ignoring distractions and can concentrate on the subtle melodic content when needed. Withdrawal for pure expression is a definite proof of spiritual maturity. Performance grows closer to real life, it is not about the artist any more, rather it becomes a social experience. We call it depth, although it is nothing other than the recognition of truth.
The disc that seems light in tone does not limit itself to encore type pieces, the First Rapsody is a very difficult piece. It’s playful and dance-like universe requires a significant amount of performance reserves. This is not at all easy - the expression has to shine through and make complex structures genuine. As far as her sound characteristics are concerned, the performer meets these requirements; formation is tangible and moments are inspired. But it is evident that the demonic totality of the Bartókian interpretation is missing from the piece and therefore it cannot become so unquestionable as we recognize Bartók. Still, some parts already carry the future completeness: sometimes the performance is stormy, extreme and expressive, sometimes coolly tranquil. What it still lacks however, is the ambivalent keeping of distances and the ruthless self-examination which the power of spirit will on many levels integrate into one. Do not forget that our performer is only fifteen years old! We should expect her to see the Bartókian depths, it is enough for her to be able to give voice to the piece. And regarding the concert world of our time, she achieves that completely.
Kodály's Lyrical Romance follows. This music is unbelievable! Music of an unusual and weary beauty. The dramatic parts are full of pathos and neatness and the whole is so fallible like a touching autumnal moment in a theatrum. Not to mention the beautiful rising thirds! The following piece is Popper's Dance of the Elves, - also giving the title for the disc. There is no circumlocution here, it is so fast that it is barely noticeable: it seems evident. I go on listening to the following pieces, Dvorak, Schuman, Cassado.
If we were at the Szabó's and her father asked Ildikó to play something to the guests, these would be the chosen ones. These are enjoyable pieces which do not hide the abilities of their performer. Usually the large concert literature, critics, the succeeding generations, the science of music, colleagues and naturally the audience, determine how something should sound, so it is a rather rare event that a recording comes to light like this. If cellists would erase those external factors from their heads, they would also be able to record such an album. A disc full of virtuoso show pieces, presented with power and emotion in incredible tempos. It is rarely granted for the performer to create such a selection for the audience.
The interpretation of Ágota Lénárt is also worthy of note, it is a caring, affectionate performance which is especially moving in this context. The liberated way Krenek talks about the mother nature of the octave would be the way I draw a parallel to this piano performance. It follows and frames, every function of it sounds for the interpretation, it always remains in the background and keeps accompaniment while it has an audible formative and controlling power. It is a functional and dramatically rich and colourful performance which gives ground to the cello line.
Sound is exciting - which explicitly reveals the musician. Like a fingerprint, it comprises all that manifests the essence of the performer. One cannot falsify a sound. Speed perhaps, perfection maybe -since it is only about ear and hands -, but sound, no. It opens up the personality even in the shortest period of time. Ildikó's sound used to be like melted honey, always sweet and charming without sharp edges. Her sound at the Béla Bartók Memorial House performance has started to gain edge - as it must for maturity of identity, the acoustic print of the self. This sound is again slightly different now, nice but with a bit of rough seriousness. The realization of the temporality of life is what makes sound fatal. This is where greatness begins and this is what is probably the most difficult to achieve -at least if we talk about inner existence.
Domonkos
Source: www.hzo.huTranslated by Susan Kapás
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