Iván Cherednichenko Carrillo & Herman Med Cerisha – Martinů, Schumann, Paganini

Iván Cherednichenko Carrillo cello Herman Med Cerisha piano Variations on a Theme of Rossini Bohuslav Martinů (1890-1959) This was one of the first pieces that Martinů composed upon his resettlement to America after fleeing Paris’ imminent German occupation. The main theme is a development of the introduction in Paganini’s work which concludes the concert, variations based on Rossini’s Dal tuo stellato soglio from Moses in Egypt. It was composed in 1942 for the great cellist and frequent dedicatee Gregor Piatigorsky as a witty transformation of two of its predecessors. The phrasing of the first variation is punctuated by melodic leaps and brief scalic motions, whilst the second builds on the persistent repetition of motifs and scalic/chromatic patterns, placing them in harsher contrast to the countermelodies in the piano. This is all halted by the entry of the third variation — a heavily syncopated, spontaneous and contrasting take on the theme. The bright piano cadenza is bookended by startling pizzicatos and a return to the preceding vivacious rhythms. A final speed increase pokes fun at Paganini’s demanding writing before being grounded back to an arresting statement of the triumphant theme. Martinů’s variations have an assured jauntiness in their soloistic and ensemble dialogue. With frequent cross-rhythms, unorthodox bowing and articulation placements, each one plays masterfully with a release and concentration of virtuosity, harmony and rhythm, making for an exhilarating concert piece. Adagio and Allegro, Op.70 Robert Schumann (1810-1856) Schumann’s Adagio and Allegro was written in 1849 during one of the composer’s frequent and focused creative bursts — this one with regards to French horn repertoire (the original instrument for which this work was written; Schumann also composed his Fantasiestücke and Konzertstück for four horns and orchestra during this period). This effort was likely inspired by recent developments in the design of the French horn, allowing it to precisely employ a set of valves to execute semitonal movement. Schumann published the piece with an alternative scoring for cello and piano (like his Fantasiestücke), for whom semitonal playing poses no difficulty, but calling for a sensitive and assured imitation of the horn. The Adagio indulges in an almost-unbroken intimate conversation between the two instruments which dwindles into a serene and impassioned close. This partnership remains unbroken by the jubilant start of the Allegro. Through his fervent and heroic writing Schumann explores the ranges of the duo right through to the work’s charging close. Variations on One String on a Theme of Rossini Nicolo Paganini (1782-1840) Written in 1818, these variations were originally called “Variazioni di bravura”, capturing the beauty and charm of both Italian opera and Paganini’s music in a show-stopping display of violinistic virtuosity (this cello transcription by Maurice Gendron & Pierre Fournier preserves the idea of playing on just one string). Beginning with a bel-canto introductory melody from Rossini’s Moses in Egypt, Paganini spares no time in having his own way with the material. A short variation, which quotes the opening notes of today’s recital, gives way to the next — quicker flurries of semiquavers flourishing into occasional slower and romantic cadential gestures. A more declamatory and joyfully bold variation employs artificial harmonics, the transcribers’ comical imitation of the violin. A brief piano cadenza (shorter and more stately than Martinů’s) introduces a final variation loaded with even more asymmetric cross-rhythmic bowings than Martinů’s, wrapping up this show of opera buffa with a final twist at scales and arpeggios. Aperitif Recital at the Savile Club, November 2025 Series curated and filmed by Michael Maxwell Steer