Press reviews
Taunus-Zeitung, September 21st, 2021 - Moments of intimate transfiguration (Ulrich Boller)
Königstein. Tatjana Drujan and Alexander Shavgulidze give a remarkable concert
If a composer prescribes the repetition of a certain section, it is to no small extent up to the creative ability of the interpreters to work out such a specification as meaningful. When the same notes are played again, they appear in the context of what has already been said, thus creating a new, altered context.
Cellist Tatjana Drujan and pianist Alexander Shavgulidze were aware of this task in the first movement of the first Brahms Sonata in E minor, Opus 38. They played those bars that lead back to the beginning in a tense, almost mysterious manner. Subdued, warmed through, the cellist took up the main idea, like a memory that gains new presence to blossom even more strongly. A coherent answer to the question posed by the composer.
Such illuminating moments were conveyed many times by the two interpreters during the chamber concert in the large hall of the House of Encounter (Haus der Begegnung). With nuance, they understood how to shape the process of brightening at the beginning from sonorous depth to light heights. At the end of the movement, they achieved moments of intimate transfiguration. Above the carefully illuminated details, the great arc was not lost for a moment, either within the three movements or across them. The duo, which performs under the name "Rare-à-Tête", made audible the complexity and precision of final fugue.
For the main work of the programme, the F major Sonata Opus 123 by Camille Saint-Saëns, this aroused no small expectations. They were fully met, even excelled here and there. An example of this was the Scherzo, most unusually executed by the French Romantic as a variation movement. Both the cellist and the pianist presented a wealth of colours and nuances. The lyrical character of the Romance seemed to be beautifully captured, and Drujan and Shavgulidze let the finale sparkle with unstrained musicianship. The high-quality interpretation of the musical text proved to be a respectful reverence to Saint-Saëns, who died 100 years ago at the ripe old age.
Wistful in the slow introduction, energetic in the rhythm of the dance, the duo opened the sequence of works with Frédéric Chopin's Polonaise brillante Opus 3. Chopin's longing for his Polish homeland and his deep roots in the musical culture of at that time Russian-dominated country spoke eloquently. The encore was magical: the "Swan" from Saint-Saëns' "Carnival of the Animals". Drujan's warm, vocal cello tone combined with the harp-like sounds of the piano and evoked vivid visual images...
Königstein. Tatjana Drujan and Alexander Shavgulidze give a remarkable concert
If a composer prescribes the repetition of a certain section, it is to no small extent up to the creative ability of the interpreters to work out such a specification as meaningful. When the same notes are played again, they appear in the context of what has already been said, thus creating a new, altered context.
Cellist Tatjana Drujan and pianist Alexander Shavgulidze were aware of this task in the first movement of the first Brahms Sonata in E minor, Opus 38. They played those bars that lead back to the beginning in a tense, almost mysterious manner. Subdued, warmed through, the cellist took up the main idea, like a memory that gains new presence to blossom even more strongly. A coherent answer to the question posed by the composer.
Such illuminating moments were conveyed many times by the two interpreters during the chamber concert in the large hall of the House of Encounter (Haus der Begegnung). With nuance, they understood how to shape the process of brightening at the beginning from sonorous depth to light heights. At the end of the movement, they achieved moments of intimate transfiguration. Above the carefully illuminated details, the great arc was not lost for a moment, either within the three movements or across them. The duo, which performs under the name "Rare-à-Tête", made audible the complexity and precision of final fugue.
For the main work of the programme, the F major Sonata Opus 123 by Camille Saint-Saëns, this aroused no small expectations. They were fully met, even excelled here and there. An example of this was the Scherzo, most unusually executed by the French Romantic as a variation movement. Both the cellist and the pianist presented a wealth of colours and nuances. The lyrical character of the Romance seemed to be beautifully captured, and Drujan and Shavgulidze let the finale sparkle with unstrained musicianship. The high-quality interpretation of the musical text proved to be a respectful reverence to Saint-Saëns, who died 100 years ago at the ripe old age.
Wistful in the slow introduction, energetic in the rhythm of the dance, the duo opened the sequence of works with Frédéric Chopin's Polonaise brillante Opus 3. Chopin's longing for his Polish homeland and his deep roots in the musical culture of at that time Russian-dominated country spoke eloquently. The encore was magical: the "Swan" from Saint-Saëns' "Carnival of the Animals". Drujan's warm, vocal cello tone combined with the harp-like sounds of the piano and evoked vivid visual images...
Taunus-Zeitung, April 24th, 2007 - Two artist friends between career and competition
Falkenstein. How often does more happen between the lines than you think you know? How often is a whole truth in the nuances? Or maybe in the notes of two compositions? Such questions were asked on Sunday evening by two musicians from the "Brücke zwischen Ost und West" in the room of the Ascara house at the Kempinski Hotel, when they intoned works by composers Richard Strauss and Ludwig Thuille. Ars Vivendi had the following theme for the musical evening: Munich rivals ”and 40 listeners let the pianist Alexander Schawgulidse and the violoncellist Tatjana Drujan seduce them. Schawgulidse did not want to be shaken by the fact that Thuille and Strauss were friends:“ That is well known. However, only one of the two became famous - and when you learn that Strauss never fought for his friend's success, for example when he failed with an opera, you get a lot of attention. Were there any rivalries? ”The two expressed the supposition with the pieces of the evening. In the first half of the performance, they played Strauss' Sonata in F major for cello and piano op. 6 from 1880 to 1883 and his Romance in F major for cello and piano or op. AV 75 from 1883, the second half belonged to Thuille's 30-minute Sonata in D minor for cello and piano op. 22 from 1902. As you would expect from Ars Vivendi and the “Brücke” artists, Schawgulidse and Drujan offered an impeccable game full of passion and feeling and at the highest technical level. The tension between the mostly exuberant, cheerful notes from Strauss' pen and the sometimes clumsy, melancholic composition of the friend was clearly expressed. Strauß, and with him the two musicians, began with an exuberance and in high and energetic tones. Only the middle section of the “Sonata in F major” sounded quieter, even deliberate, and extremely harmonious. This is where the interaction between the two instruments came to its full development for the first time. Sometimes the composition became haunted and full of tension, only to relax again. The second abrupt jump followed. At the exhilarating finale, the image of a happy child, who explores his world lightly, came to mind. Sometimes it paused, then ventured further and swung itself up to great rejoicing after new discoveries. It could be the composer's jubilation at the level of his success - and then the gentle note comes back, so to speak as a reminiscence of the middle section. The 40 listeners were enthusiastic and gave continuous applause between the individual pieces. Strauss' "Sonata" lasted a good 22 minutes at a time, the following "romance" continued for another 12 minutes before Thuille's "Sonata in D minor" finally sounded in the second part. A highly romantic piece full of dramatic ups and downs. The composition sometimes gave the cello ample space to develop, and so Drujan performed the performance almost alone over long passages. There was a hint of sadness and melancholy in all of these sounds. “The Strauß and Thuille finals are both based on the same rhythm,” said Schawgulidse. "With these specifications, Strauß almost flips over with joy, while Thuille also looks sad in the finale."
Falkenstein. How often does more happen between the lines than you think you know? How often is a whole truth in the nuances? Or maybe in the notes of two compositions? Such questions were asked on Sunday evening by two musicians from the "Brücke zwischen Ost und West" in the room of the Ascara house at the Kempinski Hotel, when they intoned works by composers Richard Strauss and Ludwig Thuille. Ars Vivendi had the following theme for the musical evening: Munich rivals ”and 40 listeners let the pianist Alexander Schawgulidse and the violoncellist Tatjana Drujan seduce them. Schawgulidse did not want to be shaken by the fact that Thuille and Strauss were friends:“ That is well known. However, only one of the two became famous - and when you learn that Strauss never fought for his friend's success, for example when he failed with an opera, you get a lot of attention. Were there any rivalries? ”The two expressed the supposition with the pieces of the evening. In the first half of the performance, they played Strauss' Sonata in F major for cello and piano op. 6 from 1880 to 1883 and his Romance in F major for cello and piano or op. AV 75 from 1883, the second half belonged to Thuille's 30-minute Sonata in D minor for cello and piano op. 22 from 1902. As you would expect from Ars Vivendi and the “Brücke” artists, Schawgulidse and Drujan offered an impeccable game full of passion and feeling and at the highest technical level. The tension between the mostly exuberant, cheerful notes from Strauss' pen and the sometimes clumsy, melancholic composition of the friend was clearly expressed. Strauß, and with him the two musicians, began with an exuberance and in high and energetic tones. Only the middle section of the “Sonata in F major” sounded quieter, even deliberate, and extremely harmonious. This is where the interaction between the two instruments came to its full development for the first time. Sometimes the composition became haunted and full of tension, only to relax again. The second abrupt jump followed. At the exhilarating finale, the image of a happy child, who explores his world lightly, came to mind. Sometimes it paused, then ventured further and swung itself up to great rejoicing after new discoveries. It could be the composer's jubilation at the level of his success - and then the gentle note comes back, so to speak as a reminiscence of the middle section. The 40 listeners were enthusiastic and gave continuous applause between the individual pieces. Strauss' "Sonata" lasted a good 22 minutes at a time, the following "romance" continued for another 12 minutes before Thuille's "Sonata in D minor" finally sounded in the second part. A highly romantic piece full of dramatic ups and downs. The composition sometimes gave the cello ample space to develop, and so Drujan performed the performance almost alone over long passages. There was a hint of sadness and melancholy in all of these sounds. “The Strauß and Thuille finals are both based on the same rhythm,” said Schawgulidse. "With these specifications, Strauß almost flips over with joy, while Thuille also looks sad in the finale."
Taunus-Zeitung, August 31st, 2006 - concert of surprises helps children
... The duo "Rare-á-Tête" ... convinced the audience with a classical sonata in F major by Richard Strauss. The duo performed both the cheerful, playful passages of the musical work as well as the sad, darker sequences with a great deal of feeling.
... The duo "Rare-á-Tête" ... convinced the audience with a classical sonata in F major by Richard Strauss. The duo performed both the cheerful, playful passages of the musical work as well as the sad, darker sequences with a great deal of feeling.
Taunus-Zeitung, March 10th, 2005 - The cello sings about the passion of love
The cello complained wistfully, only to sing again spiritedly about the passion of love shortly thereafter. Astor Piazzolla's “Meditango”, performed by cellist Tatjana Drujan and pianist Alexander Schawgulidse, was undoubtedly one of the highlights of the spring concert at the Asklepios Clinic in Falkenstein. The duo fascinated the listeners with their feel for music, which was particularly expressed in Piazzolla's “Libertango”. Sighing beautifully, the piece, with its rapid pace and driving rhythm, places the highest demands on precision. Because the theme - given by the cello and recorded by the piano - finally returns with both instruments. Drujan and Schawgulidse played terrific - and with obvious pleasure ...
Taunus-Zeitung, June 16, 2004 - cello and piano in brilliant interplay
If the expression "Magic of sound" hadn't been used a little, for the entrance to the youngest concert of the association "Brücke zwischen Ost und West" in the Sonnenhof (Königstein), this term had proven to be unreservedly suitable, because pianist Alexander Schawgulidse and cellist Tatjana Drujan were able to create an elven-like, tender, poetically inspired moonlight atmosphere. Lean in tone and with clear contours, they formed Claude Debussy's "Clair de Lune", the third movement from the "Suite Bergamasque". This contrasted with the leprechaun-like serenade of Debussy's cello sonata in D minor, written in 1915, three years before the composer's death, and the two interpreters precisely articulated the grotesque sounds, creating an oppressively shaded, almost frightening atmosphere. Cool impressionistic colors, on the other hand, shaped the head movement, vital motor skills the "Animé" finale. Both the will to live and the death notions of the cancer-stricken composer were emotionally moving - music as a profound psychogram. In the best of mutually infectious musicianship, Drujan and Schawgulidse appeared in Francis Poulenc's rarely heard cello sonata from 1940. The French cellist Pierre Fournier first had to persuade Poulenc to compose, using the material already available for a planned flute sonata. The presentation of the work, which is bursting with surprises, was inspiring, weightless and brilliantly sparkling. Poulenc's witty play with the expectations of his listeners was interpreted in an exciting and witty manner with constantly emerging figures, as it were interpreted as acoustic cinema, and also a rarity on the concert stages: Camille Saint-Saens` cello sonata in F major, Op. 123. This convinced the duo's technically clean and well-coordinated playing music. The pianist in particular shone with sparkling figures, but the cellist also knew how to bring out the possibilities of her instrument to the full. Especially in the melodically rich romance, which sounded with sentiment, but not sentimental or cheesy. The brilliant fireworks of the finale sparked off, effectively completing a successful evening.
Kronberger Bote, November 20th, 2003 - Benefit gala became a great success for the support association and artists
... Another highlight was the cello play by cellist Tatjana Drujan, who is internationally successful as a soloist. Accompanied by Alexander Schawgulidse, she played the Rondo in G major by Ludwig von Beethoven. With this performance the concert visitors got to hear top-class chamber music ...
... Another highlight was the cello play by cellist Tatjana Drujan, who is internationally successful as a soloist. Accompanied by Alexander Schawgulidse, she played the Rondo in G major by Ludwig von Beethoven. With this performance the concert visitors got to hear top-class chamber music ...
Taunus-Zeitung, - The Mendelssohns - an exceptionally talented family
The composer family spoiled the lovers of classical music for over four decades. Apparently the musicality and the special feeling for sounds, melodies and harmonies were passed on from generation to generation. Although many magical compositions were created, only family member Felix Mendelssohn was allowed to really become known ... With the probably best-known offspring from the family of musicians, which stood in the foreground that evening, ... the ensemble "Rare-à-Tête "...started the concert. The sonata for violoncello and piano by Felix Mendelssohn Bartholdy got off to a lively start. It continued to change into a dreamy, thoughtful mood before it became fluid and lively again in the last part of the composition ... with the cheerful sonata for violoncello and piano in F sharp minor by Arnold Mendelssohn, the two musicians gave their listeners a small but impressive insight into the family of composers, who have left a comprehensive repertoire of beautiful melodies for posterity ...
The composer family spoiled the lovers of classical music for over four decades. Apparently the musicality and the special feeling for sounds, melodies and harmonies were passed on from generation to generation. Although many magical compositions were created, only family member Felix Mendelssohn was allowed to really become known ... With the probably best-known offspring from the family of musicians, which stood in the foreground that evening, ... the ensemble "Rare-à-Tête "...started the concert. The sonata for violoncello and piano by Felix Mendelssohn Bartholdy got off to a lively start. It continued to change into a dreamy, thoughtful mood before it became fluid and lively again in the last part of the composition ... with the cheerful sonata for violoncello and piano in F sharp minor by Arnold Mendelssohn, the two musicians gave their listeners a small but impressive insight into the family of composers, who have left a comprehensive repertoire of beautiful melodies for posterity ...