The victorious return of a cellist: Corinne Morris’ tribute to Paul Tortelier

Little time after waving good-bye to long-term convalescence after severe arm and shoulder injury, it’s been an absolute delight to meet with Corrine Morris a small bunch of months ago. I have learnt about the difficulty of getting slowed down mid-way through a career, confronting uncertainties of the future with hopes for a redemption.

I had no doubts as per the outcome of the concert, for Corinne has had her come-back album released last October, but I am here to say, and frankly, that this was a sheer triumph. A triumph of cleverness, sensitivity, transmission of feelings to the audience and yet, simplicity.

At The Forge, Camden Town, April 8th 2014:

Ludwig van Beethoven, Variations on Handel’s “see the Conqu’ring Hero Comes”, WoO45
Richard Strauss, Sonata for cello and piano op.6 in F major
Robert Schumann, Funf Stucke in Volkston for cello and piano op. 102
Nimrod Borenstein, Soliloquy for solo violoncello, op. 59
Bohuslav Martinu, Variations for cello and piano on a theme of Rossini

Oh my, what a programme that took me round the Earth! A growing momentum of power, a time-travel in chronology of lyricism, taking us from the cautious frames of the late 18th century all the way near to our modern days, breathing and alive masters in composition.

I enjoyed Corinne’s performance in a way that, honestly, makes words missing to express. Corinne’s lines are in par with the moves in demand from the piece. Alternately sweet, stormy, soothing, exploding, lyrical, chanting… what else can then be asked for? Corinne’s techniques are there and in place, allowing the heart to speak for the rest. Her gestures as much as moods were translating of her comfortable virtuosity, as any real musician transcends into the extension of his own instrument. I found it to be communicative with great effect to the audience, and was caught and conquered by the melodies of each and every movement throughout the whole concert. Our pianist of the night, Nico de Villiers (smartly dressed, which never hurts) is not innocent in the success either, effortlessly following Morris’ indications, also maintaining an excellent balance of sound between the two instruments at any time.

In a nutshell, both of that night’s servants of Apollo made justice to the music. I will only conclude on a small a parte so as to give all good wishes to Mr Borenstein, producing works of merit and bursting with inspirational textures while retaining an ease of accessibility, somehow getting scarce these days.

Music as it shall ever be heard. It was to be witnessed at The Forge with Morris and de Villiers. Congratulations to you both.

Author: Francois Mauld d'Aymee

Francois trains to become a classical singer at the same time he runs a tutoring company in Central London. He loves opera as much as any other kind of classical music, never missing an occasion to attend the great performances.