Their first performance together, this recital was marked by Andreas Brantelid’s and Konstantin Shamray’s obvious mutual affinity with 20th century Russian music.
They also possess similar performance styles involving intense focus and minimal outward display, attributes that are alas in short supply in these days of musical exhibitionism.
That said, Brantelid had to work his Stradivarius cello very hard indeed to balance Shamray’s immensely potent pianism, although both artists showed remarkable ability to make their respective instruments sing their heart out.
Undoubtedly the program’s best work was Shostakovich’s magnetic, haunting Sonata in D minor Op 40.
The opening Allegro’s ultra-romantic 2nd subject, the rumbustious Scherzo, the ethereal and plangent Largo topped by the final Allegro’s nervous bravado, all emerged brilliantly as both performers worked together, but each in their own way.
Rachmaninoff’s Sonata in G Minor Op 19 was undoubtedly the program’s most loved work.
With its massively overwritten piano part it always succeeds in sounding like a piano sonata with cello accompaniment, and this occasion proved no exception.
Shamray’s piano tone is golden, his ability to shape Rachmaninoff’s fearsome figuration is unfailingly effective and he has great warmth.
Brantelid’s cello commentary on all this was beautifully contoured and often passionate, making a most persuasive musical mix.
Fortunately, Mayakovsky’s Sonata in D Major Op 12 which opened the program is altogether gentler and we were able to revel more easily in the warmth and colour pouring from that Stradivarius.
Andreas Brantelid and Konstantin Shamray
Elder Hall
September 23
Written by Rodney Smith for the Adelaide Advertiser 24/9/2019