James Barralet - Press ReviewsBarralet and Beatson wow Kendal Midday Music audience KMCC added yet another resoundingly successful recital to its seemingly inexhaustible list of such occasions. James Barralet, a fine young cellist, and his equally fine (and young!) pianist partner, Alasdair Beatson, delighted and wowed the Kendal Town Hall punters with their sheer dexterity and musicianship in their programme of Cello Sonatas by Mendelssohn (in D, Op.58) and Rachmaninov (in G minor, Op.19). Both these sonatas were ideally-suited to the type of instrumentalists who graced the stage for this recital – on the one hand, energetic, ebullient and technically brilliant; on the other, elegant, soulful, richly-romantic with lavish supplies of melodic and textural beauty. It was obvious that there was utter rapport between the two. Their ensemble work was impeccable, their phrasing immaculate, their dynamic contrasts were impressive and they understood exactly the nature of the varying demands imposed upon them by the two pieces. A charming arrangement by James Barralet of a Cumbrian folk song, Sally Gray, ended the concert. Westmorland Gazette January 2011 "It's a deeply idiomatic performance [of the Kodály], as we can hear in the declamatory style of the opening and the delicate filigree of the second movement's ornaments...The writing for cello [in the Roxburgh] is inventively colorful and Barralet relishes its dramatic possibilities." Gramophone Magazine, August 2010 This young cellist- who has also made his mark playing Indian music – offers a muscular rich sound which dazzles in the Kodaly sonata and the gymnastics of Edwin Roxburgh’s Partita for solo cello, and then switches on the lyricism for an intense account of Britten’s third cello suite, including both versions of the first movement. A brilliant debut disc. Classical Music Magazine March 2010 In 2007 British cellist won the Landor Records Competition; this debut disk is the result. Kodaly’s Sonata opens it in arresting fashion. Barralet, who studied with Thomas Demenga at the Musikhochschule Basel, plays with energy and poise, judging the pace expertly. The expansive chords seem to use every available inch of bow and the many incredible effects that Kodaly draws from his instrument are accomplished with enviable technique. Barralet, a fresh and charismatic communicator, keen Hungarian folk dancer and one half of a cello and tabla duo, might be just the ideal performer for this music. Edwin Roxburgh’s brief 1970 Partita makes its own recorded debut here. Unfortunately its composition date, a year before Britten’s Third Suite, makes comparison inevitable. The four concise movements make effective use of a wide range of techniques that Barralet executes faultlessly, but there is none of the profundity and soulful eloquence of the Britten, whose mood changes in the Allegro (Marcia) and ‘Dialogo’ are as rapid as flashes of film. The Strad April 2010 The long-awaited debut recording by this stunning young cellist who was the joint-winner of The Landor Competition in 2007. Well-known for his wide-ranging musical interests (which include collaborations with Indian musicians and extensive improvisations on folksongs from around the world) James Barralet tackles one of the pinnacles of the solo cello range in the Kodaly Sonata, giving a coruscating performance of this early twentieth-century masterpiece. He follows it with the premier recording of the Roxburgh Partita which he has frequently played in concert and records it with the composer’s blessing here. Finally a profound performance of the Third Britten Suite, which includes as an addendum a first recording of Britten’s own alternative working of the first movement. For lovers of the cello, of twentieth century music or just of young British artists, this is a debut recording to savour. Presto Classical March 2010 "Tchaikovsky's Rococo Variations, performed in its original version, proved a excellent vehicle for cellist James Barralet to demonstrate both his technical wizardry and musicianship. The spirit of Mozart permeates this work and the soloist succeeded magnificently in conveying its humour, grace and nonchalance with good support from the orchestra" Gloucester Echo “This Park Lane Group concert began with two works for unaccompanied cello. Right from the outset – a triple-stopped glissando – Barralet’s mastery of his instrument was evident, as well as his dedicated advocacy of its matchless depth. The sonata exhibits Ligeti’s prevalent modernism, together with keen awareness of his Middle European inheritance. He respects the courtly formality of Austrian dominance and the genial music-making of Hungarian peasantry through generations. With crystalline intelligence, he marshals his notes with tension and into structures integral to his personal make-up. Barralet understood all this with direct clarity, ensuring that his rich, dark instrument spoke the same precise yet emotion-tinged language. Zoltán Kodály, a cellist himself, took Barralet still further into the art of evoking sounds of burnished, mellow resonance. Sturdily, and with absolute clarity of intent, Barralet took us through the imposing medley of techniques and styles that Kodály enmeshed into such a striking whole – the percussion, the drone, the hurdy-gurdy, the characteristic tones of the viola, the violin, the female voice, the folksong and the peasant dance. This was distinguished playing of an imposing composition.” Classical Source January 2009 “Ligeti's early cello solo sonata is clearly influenced by Kodaly & Bartok; the second of the two movements was more individual, with its melody 'buried in an unstoppable torrent of notes' which James Barralet took in his stride. Kodaly's sonata, the first solo cello work of real significance since Bach's, has held its place in this repertoire, and was as absorbing and exciting as always. Barralet has a flair and commitment which makes for strong communication with his audience to which we supporters of PLG present responded warmly.” Peter Grahame Woolf, Musical Pointers January 2009 Ligeti's early cello solo sonata is clearly influenced by Kodaly & Bartok; the second of the two movements was more individual, with its melody 'buried in an unstoppable torrent of notes' which James Barralet took in his stride. Kodaly's sonata, the first solo cello work of real significance since Bach's, has held its place in this repertoire, and was as absorbing and exciting as always. Barralet has a flair and commitment which makes for strong communication with his audience to which we supporters of PLG present responded warmly. (Wigmore Hall) Peter Grahame Woolf, Musical Pointers January 2009 “Britten’s Suite was given a solid outing by James Barralet. Barralet’s moment to show technical prowess came with Kenneth Hesketh’s Die Hangende Figur ist Judas, a solo work that saw Barralet accompanying a bowed line with steady pizzicato in his left hand, among other tricks.” Strings Magazine, May 2008 'Cellist James Barralet chose well in Edwin Roxburgh's concentrated, jolie-laide Partita (1970), Kenneth Hesketh's Britten-indebted triptych, Die Hangende Figur ist Judas (1998), and Britten's own Suite No. 3 (1974). The influence of Barralet's teacher, Thomas Demenga, was evident in his clear sound, fluent bowing, and broad dynamic range. The musical imagination was all his own.' Anna Picard, The Independent, January 2008 ‘James Barralet’s delivery supplied its one fascinations… No doubting the strength of feeling from the desolate wastes of Britten’s third Suite to the febrile kaleidoscope of Kenneth Kesketh’s Die Hangende Figur ist Judas.’ Geoff Brown, The Times January 2008 “Infinitely musical” Clifford Benson “A truly great cellist, moreover a truly great musician” Benjamin Zander “Mesmerizing… It is reassuring to know - through the greatness of Bach as performed by people like Mr Barralet - that there are still some eternal verities” Stratford Herald "Barralet's playing displayed all the colours of the cello as well as its striking vocal range. At times... one could swear more than one instrument was playing. Perhaps the most moving moment came, as the gathering dusk was illuminated by candles, in the haunting poignancy of the sixth suite's Sarabande" . Stratford Herald “Exhilarating” Leamington Courier (Premiere of "Kachina" for cello and piano by Raymond Head, Warwick International Arts Festival, July 2006) "A cellist of technical brilliance and musical intelligence" Basler Zeitung (Shostakovich cello concerto no. 1 with Basel Symphony Orchestra,) |