Christopher James and Lynelle James in Review
Christopher James, cello
Lynelle James, piano
Weill Recital Hall, Carnegie Hall, New York, NY
April 27, 2023
Brother and sister Christopher James and Lynelle James follow a time-honored tradition of siblings collaborating as musicians, and while they each enjoy active careers as individuals, there was no shortage of synergy between them in this recital. Hailing from a large extended family of fine professional musicians, one could imagine that respect for the score, attention to phrasing, and good musical taste were as much a part of their upbringing as keeping their rooms tidy or proper table manners. This concert was dedicated to the memory of their mother, pianist Robelyn Schrade and their uncle Randolph Schrade, also a pianist.
The program opened with two sonatas: the Debussy and Schubert’s “Arpeggione”. The slightly austere approach to the Debussy was effective in demonstrating the composer’s foray into a more modern style, with its transparent textures. Particularly striking was the interplay of pizzicato cello and staccato piano in the second movement. In the Schubert, the duo selected slower tempi than usual; this created a more plaintive atmosphere and allowed for more lyricism in the treacherously high registers in the cello part. The third movement which is often played in a more headlong fashion, had more of the necessary Viennese dance character in this relaxed tempo.
The first half of the program concluded on an extroverted note with Chopin’s Introduction and Grand Polonaise Brilliante. Despite Chopin’s admiration for the cello, this was the pianist’s moment in the sun. Lynelle James is a powerhouse of a pianist, with dexterous ability to execute the glittering scales and double thirds with grace and panache.
The second part of the concert began with the little-known Five Preludes for solo piano by the Ukrainian-born Nikolai Roslavets. Here Lynelle continues to demonstrate her considerable mastery in bringing out the many colors and textures in this dense and complex writing, reminiscent of late Scriabin and Szymanowski. After her solo, it was Christopher’s turn to lend his single voice in the Prelude from Bach’s C minor Suite. While playing an excerpt from a complete work seemed slightly out of place in this program, he embraced the acoustics of the hall and delivered a dark and brooding performance. Christopher James is a musician of deep intensity and integrity, and while not a showy player, he has all the equipment to serve the technical demands of the music.
The beloved Sonata by César Franck has become as familiar in its transcription for cello as for the original violin. Highlights of the Jameses rendering were the refreshingly light pedaling in the second movement, which is so often played too heavily, and the soulful cello recitatives in the third movement. The excitement in the conclusion of the final movement was almost uncontainable, and the rapt audience rewarded the duo with warm and well-deserved enthusiasm.
by Alexandra Eames for New York Concert Review; New York, N.Y.
