The Karlsruhe Concert Duo gave a performance in Bangalore recently. At an interview with cellist Reinhard Armleder and accompanist Dagmar Hartmann, their relaxed charm was as evident as it was in their performance later. They had just visited Russell Market and were delighted with the bustle, sights and sounds (though they politely omitted the smells!) with the flowers, the fruits arranged in shiny stacks, and the fresh vegetables. “Look, I have these flowers in my hair”, said a pleased Dagmar.
No strangers to Bangalore, they were here last year when they conducted master classes. “There were not many students learning the cello, only three. I think it is difficult to get a good instrument here: the strings also are not of good quality.” Dagmar added, “But I had so many wanting to join my class for piano, that I had to limit the number, I could not teach more than eight. This is so even in Europe, that the piano is the most popular instrument.” This visit was regrettably much shorter, though they were still hoping to do a little sight-seeing.
Their eager wish to communicate more than compensated for their rather halting English. They discussed the problems as well as delights of being on tour, something that they have done extensively, ever since they established themselves as a Duo in 1997. Travelling with a cello can cause problems on flights, particularly with suspicious airport security – who have probably seen too many films where Mafia conceal guns in music cases! Dagmar’s itinerant problems are of another nature: she has to adjust to whatever piano is given her at a venue. Though all pianists dislike having to play on a less than perfect instrument, being faced with variable pianos is easier for a soloist who can just get on with the job, but an accompanist has to see if it is in sync with the string instrument’s tuning. Dagmar identifies such problematic areas by familiarising herself with the piano for four hours beforehand: for example, if she finds the treble is not tuned to the cello’s range, she plays that with a lighter touch.
They also travel with a pharmacopoeia to stave off problems ranging from Delhi-belly, mosquitoes and travel-lag. Reinhard sighs, “Yes, sometimes it is difficult, if we are tired having got off a plane, sometimes the heat, upset stomach ... Before one concert, I had very high fever and I didn't know how I was going to play, hoping my hands would not shake. We could not cancel the concert, of course. But, whatever the problems, once we are in the performance we forget everything and are immediately taken into the music.”
Both displayed a high technical quality that has come to be expected of musicians of such qualifications and experience. Reinhard’s finger vibrato was as good as his wrist and forearm technique, which did justice to brilliant passages in the treble as well as rich textures in the low register. Equally impressive was their rapport: Dagmar was sensitive to Reinhard’s phrasing and tempo. Such coordination was even more impressive given that their backs were to each other. Chamber musicians normally sit in a semi-circle and are able to signal cues with nods or with their eyes.
Some of the best music for cello was written during the Romantic period. As the instrument underwent changes, notably improvements in sound and flexibility, music was written to exploit these developments. Their concert represented the three major genres of duo sonata, lyric pieces and transcriptions. Song Without Words was Mendelssohn at his characteristically lyrical, sweet with tender melody. Equally alluring, though more sombre, was Faure’s Elegy , the cello’s deep huskiness best conveying its dark yearning. In La Vida Breve , de Falla showed what a range of sound effects the cello could produce.
Chopin’s Polonaise Brilliante was a surprise: this composer is so synonymous with his huge piano oeuvre that few know he wrote any chamber music, leave alone hearing any at a concert. However, Chopin’s partiality for the piano was apparent in some passages where the cello played second fiddle to the piano. As an encore they chose a transcription of the very popular Liebestraum by Liszt. However, separating the melody from the intrinsic complexities of Liszt’s piano virtuosity rendered it rather sugary and sentimental. Generously playing a second encore, it could be none other than that most famous of lyric pieces for the cello, Saint-Saens’ The Swan to bring the performance to a very satisfactory end.
