Zagreb soloists and the famous cellist delighted the audience in the Prince's Court with the performance of music from the 18th to the 20th century

Zagreb's soloists and renowned cellist Steven Isserlis captivated audiences at Knežev dvor with a performance featuring music from the 18th and 20th centuries. The concert took place on July 30 during the Dubrovnik Summer Games, marking another appearance by Zagreb Soloists, a chamber ensemble regularly invited to these games. Their collaboration with Isserlis, one of today’s most prominent cellists, highlighted a diverse repertoire spanning two centuries of musical styles and approaches. The evening began with the Concerto grosso No. 3 in D minor by Charles Avison, an influential figure in 18th-century English music who based his work on compositions by Domenico Scarlatti. This piece blends Italian energy with the elegance of English Baroque, and the Zagreb Soloists emphasized its first movement with a light, sweeping tone. The ensemble's dynamic contrasts were marked like sudden strikes, passages that sounded more like abrupt gestures than sequences of notes, and a consistent speed and energy that did not wane even in the fast-paced final section. The central part of the concert belonged to Steven Isserlis, who performed as soloist first with Carl Philipp Emanuel Bach’s Cello Concerto in A major, followed by John Tavener’s “Eternal Memory.” Tavener, known for the simplicity and spiritual inspiration of his works, composed this piece in 1991, which was premiered by Isserlis himself. Isserlis’s performance exuded relaxation and joy, leaving the impression of a musician who clearly enjoys playing, while maintaining open communication with the ensemble. In the interpretation of Bach’s concerto, the cello’s warm and clear tone stood out, characterized by vocal qualities and ease, clarity, and sensitivity without excessive indulgence or dramatic emphasis. However, the Zagreb Soloists were not always equal partners in the performance due to occasional tempo inaccuracies, unclear entries, and moments where they receded too far into the background. Tavener’s “Eternal Memory” represents the most recent composition on the program. Its aesthetic is defined by simplicity, with a very concise melody presented by the soloist in different sound environments. The ensemble plays a crucial role in shaping the soundscape and atmosphere. The transparent structure of the piece leaves little room for hiding performance uncertainties and demands exceptional precision in dynamics. Yet, there were instances where clarity and interpretive variety were lacking. For example, in the central part of the piece, described as dance-like and somewhat grotesque, the lively and accelerated opening sounded muddled, and effects such as “blossoming octaves” were not clearly articulated. It seemed as though the soloist was prioritized over the ensemble, resulting in a loss of the multi-layered character of the composition. The concert concluded with Béla Bartók’s Divertimento for Strings, which resonated most strongly in decisive and rhythmic sections, particularly in the final movement whose rustic character the Zagreb Soloists handled especially well.