French (Fr)English (United Kingdom)
Une magnifique intégrale Mendelssohn

There are no translations available.

La plupart des interprètes proposant l'oeuvre complète pour violoncelle et piano de Mendelssohn construisent leur enregistrement autour de la Sonate opus 58 et complètent avec les autres "petites" partitions.

Gary Hoffman et David Selig arrivent au résultat inverse : ce sont les oeuvres moins réputées qui sont le mieux défendues. Ainsi, ils proposent une Sonate très romantique.

Le dynamisme, voire l'humour, surviennent avec les Variations Concertantes. Les artistes hissent la partition à un niveau d'intérêt rarement entendu, tout comme la Sonate opus 45, habituellement bavarde, mais qui trouve ici sa version de référence à même d'en livrer toutes ses qualités mélodiques et rythmiques, toute son énergie communicative.

"A fresh take on Mendelssohn’s complex Cello & Piano works" - Strings

"On aimera sans modération l'association formée par le violoncelliste Gary Hoffman et le pianiste David Selig, dans ce riche programme. Tout est spontané : les accentuations semblent toujours naturelles, le dialogue des instrumentistes respecte un délicat et précieux équilibre et la vision d'ensemble qu'ils défendent est cohérente."

Valeurs actuelles (6 septembre 2012)

"Close-up cello: Gary Hoffman casts light on Mendelssohn" - BBC Music Magazine

The first movement of the Sonata in D is launched with irresistible forward momentum. The level of musical insight is high throughout this impressive recital.
(5 stars)

Le bonheur et le devoir de transmettre

There are no translations available.

L'interview du violoncelliste Gary Hoffman par Alain Cochard pour

"Enthusiastically recommended." - Fanfare

A review is usually short for one of two reasons: Either a recording is so poor that it does not merit attention, or else it is so good that extended discussion of particulars is superfluous. Here, thankfully, we have the second situation, as this splendid disc goes right to the very top of recommended recordings of Mendelssohn's works for cello. Since Müller-Schott is probably my single favorite living cellist, it's a stretch on my part to say that Gary Hoffman equals or even slightly surpasses him here, but he does. His tone is a shade lighter, which I find perfectly suited to this extroverted, quicksilver music; his bowing technique and intonation are immaculate. Selig is an ideal partner, with a clean, light, fluent keyboard touch and judiciously light use of the pedal. As much or more important is the degree to which both Hoffman and Selig, who have played together for some 25 years now, completely indwell this music, as if they had written it themselves. Unlike so many other performances, they do not err in making Mendelssohn either precious or pseudo-profound. The opening theme of the Variations concertantes is songful but not cloying; the Molto allegro e vivace finale of the B♭-Sonata is not turned into a manically frenzied dash to the finish line. Everything flows with astonishing seamlessness and naturalness; this is musicianship not just to admire, but also to treasure.
The La Dolce Volta label is distributed by Harmonia Mundi. Somewhat unusually, the disc contents are listed only in French, and the booklet notes (which include an interview with Hofmann and Selig) are provided in English, French, Spanish, and Japanese instead of the usual English, French, and German. There are also numerous photos of the two artists and a brief paragraph on the art of the photographer, Bernard Martinez. The recorded sound is bright and up close, perhaps a bit closer to Hofmann than would be ideal, but not to a degree that is distracting. This disc is a contender for my 2013 Want List, and every lover of Mendelssohn and cello music should seek it out without delay; enthusiastically recommended.

"Cellist Gary Hoffman affords Mendelssohn music high respect" - The Strad

Cellist Gary Hoffman and pianist David Selig have been duo partners ever since the cellist's win the 1986 Rostropovich International Cello Competition, and their pleasure in playing together is still palpable in this recording.
The less frequently performed B flat major Sonata has a gentle naturewhich they capture with obvious affection. The first theme's rising arpeggio is elegantly turned and they give the development a thoughtful exploratory feel, while the genial contentment of the finale's rondo theme makes you smile every time it appears around a new corner.
The Canadian-Australian pair takes the more extrovert D major Sonata at a virtuosic pace, but the player's excellent articulation mean that nothing is lost, and much excitement gained. The Adagio lack is inherent meditative, improvisational feel at this speed, but their finale is delightful, its descending semiquaver sequences pouring out effortlessly like frothy liquid.