Carmine Miranda & Robert Marler
Rachmaninoff’s “Cello Sonata in G Minor, Op. 19: III. Andante”
I often remark how sad it is that our society lauds today’s popular musicians and their simple three minute songs, whilst ignoring the Masters that their work is based on. McCartney, Lennon, Swift, Cobain, Wallen - the list goes on - they’ve all created memorable songs that are continuing to shape our culture and existence, but are they educated and competent enough to write something reminiscent of what Beethoven, Handel, Mozart, et al, wrote by hand, with no assistance from technology? No. Not even close. Are there composers alive today that are keeping this tradition alive? Absolutely, especially if you factor in those genres that have been born of today’s modern instruments, but the point I’m trying to make is that the genius and will of these Masters feels like its eroding more and more with each passing year thanks to how simple today’s “popular” music is and our penchant for short-attention-span theatre. What gives me hope is projects like this - an 8 piece recording of some of Shostakovich’s and Rachmaninoff’s finest sonatas for cello and piano, performed by two of the best performers and educators in the country.
To get a feel for the complexity of this project and the level of expertise it took to accomplish it, I hope you’ll read this interview I did with the performers, Carmine Miranda and Robert Marler, both Doctors of Musical Arts, residents of Nashville, and faculty at Belmont University. In addition to the years of dedication it takes to play at this level, the sessions required months of rehearsals and time in the studio to select the right microphones and atmosphere. I, for one, was stunned to learn that they tracked in separate rooms - something I thought that only “louder” bands did, but if the preferred mic for each instrument creates an issue, it seems like a logical choice. Performing classical works of this level requires you to be in absolute sync with your cohort, a benefit of being in the same room. The fact that they were able to pull off such a personal and breathtaking performance in this setting is a testament to their craftsmanship.
Reviewing new compositions is relatively easy when compared to something that’s been recorded multiple times. With respect to the other musicians who have recorded these works, I won’t compare this recording to theirs. They’re all going to interpret phrases and passages a little different than the next performer, and it’s far beyond my abilities as a pianist. In this review I’m focusing on the interpretation of Miranda and Marler, using a score from public domain. The piece is 68 measures long, and was composed and debuted in 1901. Pull out “Harper’s Dictionary of Music,” you’re gonna need it. Let’s get to it.
Marler has the first eight measures, andante and espressivo. The score is intimidating, of course, but taken at a walking pace it begins to fall in place and Marler’s touch is sublime. From an EQ standpoint, that has to be one of the best recorded piano’s I’ve ever heard - the frequencies are exceptionally balanced. My favorite phrase comes at the end of measure five and into six with the resolution coming in measure eight. Miranda comes in on nine and expands on the theme for the next eight bars, and guides you through the major and minor feels. It’s a gentle section, and his phrasing is beautifully in sync with Marler. He’s breathing, humming and gently persuading through the cello in lush tones. Love to hear the bow. Love to hear the physical movement of Carmine as he performs. The melodic interplay that exists in the middle of the score is stunning and their back and forth is perfect. It’s a taste of what’s to come.
Marler has the next seven bars and an intricate set of triplets to work with around three flats, in addition to his left hand briefly moving up into the treble clef. Now it’s Miranda’s turn with the triplets as the piece begins to explore a brief but darker theme. The resolution that happens at measure thirty is stunning, but more importantly, you should be in awe of how well they are operating in sync. They have clearly put the time in to read each other’s mind with respect to not only the notes, but the subtle phrasings that really sell the piece. Pay attention to the D flat that’s dropped at the beginning of measure 31 - it’s only an eighth note but it’s a sonic game changer. My jazz loving ears perked up at that - as if Thelonious Monk had a hand in that passage.
From there, they both climb into dissonance around measure 35 before trading places (Carmine in the lower register, Robert up high) at measure 41. The juxtaposition is indicative of Rachmaninoff’s ground-breaking style of the time. Another brief them emerges, but Robert is reminding you of the main theme with subtle hints in the treble clef. A main theme remerges at measure 49 with a more passionate attack from Miranda (note the score here, cello is forte, piano is pianissimo), and a set of triplets in the right hand against a straight count left that would make most pianists question their existence. I am in awe of Marler’s command, especially with the prowess displayed at measure 57 and its backbreaking tension. The final eight bars are as sweet as they come, and remind us of how gentle Rachmaninoff can be. Again, Marler’s touch is impeccable - the steady and soft foundation to Miranda’s arching, passionate and exquisite performance. 68 measures. 5:42 in length. Stunning.
Thank you both for letting me review this incredible work. It reacquainted me with Rachmaninoff and reminded me that he’s not as dissonant and dark as he’s often portrayed. Your performance here brought out the best of his unique tonality and structure. Additionally, I don’t think it’s an overstatement to say that this is the best sounding piano and cello I’ve ever heard recorded (I listen to anything I review on a set of 5” monitors, a set of closed-ear cans, and sometimes bring up the song through a full PA (four 15’s and two 18’s). Kudos to Alan Shacklock, Tommy Dorsey and Kyle Ginther for their work on this - it’s remarkable. I sincerely hope I get a chance to hear this in person someday.