Yo-Yo Ma Continues to Astound Gracious Cellist and Terrific Pianist Dazzle Sold-Out Tuesday Musical Audience

Akron Beacon Journal - November 9th, 2007

by Elaine Gureglan

Yo-Yo Ma is not a brash young guy with something to prove. He's a grownup with 52 years' worth of musical insight. What's more, he's a superstar who seems intent on moving forward. Wednesday's sold-out recital at E.J. Thomas Hall was a testament to Ma's drawing power. When you can fill nearly 3,000 seats for a classical cellist and pianist (the terrific Kathryn Stott) it's a phenomenon. The event reminded me of concerts from 30 years ago, when hordes gathered to hear the pianist Vladimir Horowitz. There were no gimmicks, no pandering. Top artists like Ma know they can pull the crowd along to their own tastes. Singer Cecilia Bartoli may have pushed that idea too far for some listeners when she visited Akron, but Ma kept his listeners in mind. He started with a Schubert sonata and a more challenging Shostakovich sonata. Then, to leave us on a high before intermission, he and Stott gave us Le Grand Tango, a tempestuous work by the Argentine composer Astor Piazzolla. Ma is not just savvy but gracious. Speaking to the audience, he found a way to compliment the recital's presenter, Tuesday Musical Association, on its 120th anniversary. At the same time, he clued in anyone who didn't know that Schubert's ''Arpeggione'' sonata, first up on the program, was named for a short-lived relative of the cello that no longer exists. It's not around, but Tuesday Musical is, Ma observed. Ma's technical facility and his musicianship continue to astound. He puts a premium on elegance, and he pays attention to the telling detail, yet without fussing too much. Ma never sounds like he's slumming when he plays pieces like tangos. The gorgeous Bodas de Prata & Quatro Cantos by Egberto Gismonti and Geraldo Carneiro were arranged for Ma and Stott by Gismonti. Both players looked emotionally drained after playing this sentimental piece. The Gismonti arrangement led naturally into a cello/piano arrangement Cesar Franck made of his Sonata for Violin and Piano. The fast passagework was nothing for Ma, and it translated into wonderfully light lines in keeping with its violin origin. It's no surprise that audiences will stick with Ma even through difficult works like the Shostakovich Sonata for Cello and Piano, Op. 40. With the close partnering of Stott, Ma drew an aural picture through the sonata. Whether the lines were hardbitten or hollow with fear, the musicians let us imagine human conflict. Ma's top-shelf playing could sell even a poorly made program. Wednesday's well-chosen combination of pieces let him show his classical roots and also the far-searching musician he strives to be. Even the placement of Ma's name on the program, side by side with his collaborative pianist, instead of above it, made a statement. ???? The encores were traditional. First came the old violinist's bonbon, Elgar's delicious, romantic Salut d'amour. Next came the jazzy Prelude No. 1 of Gershwin, ending a memorable recital with a flourish.