Natalie Clein‘s latest recording for Hyperion was released in late January 2017 and features works for solo cello by Bloch, Dallapiccola and Ligeti all written in the immediate aftermath of the Second World War. This extraordinary addition to her discography effectively captures the desperate, yet hopeful nature of life shortly after the war had ended and has been described as “compelling” and “wonderful”. The recording is receiving excellent reviews and features in The Guardian and the February 2017 edition of Gramophone where it is also named Editor’s Choice:
“A wonderful and compelling recording by Natalie Clein demonstrating the art of cello-playing at its most intimate – physical, lyrical and beautifully recorded.”
Martin Cullingford, Editor’s Choice, Gramophone
“Cellist Natalie Clein keeps the expressive range within autumnal parameters: melancholy, lightly fretful, inward and dignified. [...] Clein plays intimately, as if for herself alone. But there is nothing hermetic about her approach. Gently, insistently, quietly, she draws the listener into Bloch’s music and the results are thoroughly absorbing. [...] Clein is every bit as commanding in the formidably difficult Dallapiccola as she is retiring in the Bloch, and her performance of the Adagio theme in the Ligeti is four minutes of pure, concentrated beauty. This lovely disc reveals the cello as a kind of private sketch pad, or journal, capturing big emotions on a small scale, with a poetic concentration in sharp contrast to the larger, more furious musical gestures of the post-war moment.”
Philip Kennicott, Gramophone
“Clein is full of conviction in all of it, with fearless attack and haunting quiet passages.”
Kate Molleson, The Guardian
“For Ernest Bloch, at the end of his life, the three Suites for solo cello recall Bach in their mix of lyricism and declamation, wholeheartedly conveyed by Clein. From other quarters Luigi Dallapiccola’s Ciaccona, intermezzo e adagio, written in 1945, is riven with a hard-edged desolation. The young Ligeti’s Sonata for solo cello, from 1948/53, looks ahead optimistically with beauty and ebullience.”
Richard Fairman, Financial Times ****
To listen to several excerpts from the recording, please click here.
For more information, please visit Hyperion’s website.