Debussy • Poulenc • Stravinsky Debussy: Cello Sonata; Poulenc: Cello Sonata; Stravinsky: Suite Italienne Amalie Stalheim (cello), Christian Ihle Hadland (piano) Lawo Classics LWC1260 47:35 mins
Three works with a certain unexpectedness. Poulenc and Stravinsky shared a reluctance about combining solo strings and piano, while nobody would have predicted that Debussy would embark on a series of abstract sonatas in his final years. Regardless, the works here make an effective triptych for the debut recital album from upcoming cellist Amalie Stalheim partnered by the exemplary Christian Ihle Hadland on piano. They are especially strong advocates of Poulenc’s Cello Sonata, admirably negotiating the rapid changes of direction in the outer movements, the first flitting moth-like between ideas and the last searching for resolution. There is a yearning poise in the Cavatine, Hadland producing some exquisitely diaphanous slides, and the Ballabile is perkily playful to place this among the best recordings of an underrated work.
There is also much to admire in the Debussy, with a wonderful singing tone in the more lyrical moments and a wryly whimsical central Serenade. However, there is scope for an even broader range of colour in the Prologue, and a greater sense of a pulsing motion to the rising figures when the music starts flowing. Stravinsky’s Suite Italienne draws on Pulcinella, sharing material with the identically named violin work, though the genesis is more complex than outlined in the booklet. This is a fine performance with plenty of spirit throughout, and some effective timbral shadings, but not quite the ideal Stravinskyan rhythmic crispness. Overall, though, the caveats are relatively minor in an enjoyable recital that certainly suggests Stalheim is one to watch.
Christopher Dingle