Last year, Kanngiesser gave a recital at the residence of German Ambassador Herbert and Michelline Jess, and early this month, he again performed there in still another of the ambassador’s Hausmusikabend, demonstrating both his exceptional talent and excellent training.
Virtuosity conmingled with the most sensitive artistry throughout the program which began with the lively, spirited, Slavonic Polonaise in A Major by Dvorak, this followed by the Sonata in G Minor, the last extended work of Chopin before his death.
The cellist’s light, agile, nimble bow strokes alternated with vigorous, pulsating thrusts; vibratos were expertly produced. In the Chopin Sonata as in Schumman’s Fantasy Pieces Op. 73 – arguably some of the composer’s finest romantic works with their warmth and wide emotional range – Kanngiesser exploited the dynamic possibilities of the cello, drawing from it brilliant, luminous tonal intensities and soft, "floating", long-sustained pianissimos.
Serving as his own annotator, the cellist explained that this was his first encounter with our own Abelardo whose Romanza in C Major he was about to interpret. Professing admiration for it, he hoped to find more of the Filipino composer’s works. As he rendered Romanza, he stressed the charming melodic lines, lyricism being a main quality of Abelardo’s craft.
Nocturne in D Minor and Pezzo Capriccioso, both by Tchaikovsky, ensued, and in the latter, a technically dazzling piece, the cellist reached the peak of virtuosity, as he did in one of the encores, Albeniz’s Sevilla. Originally for the piano, it was transcribed by Albeniz himself for unaccompanied cello. With what ease and élan Kanngiesser played its complex, intricate passages!
Other pieces generously interpreted after the program proper were Fauré’s Après un Reve which, transcribed by Casals for the cello, retains its flowing, utterly exquisite melodic lines, and an Etude by Chopin transcribed for the cello by Glazunov. Of this, Kanngiesser remarked (and we agreed) that the Etude could have been called more properly a "nocturne", imaginable for its passivity and tranquility. The cellist’s treatment of it was pure poetry.
Outstanding concert pianist Greg Zuniega, who served as assisting artist, sparked a spontaneous combustion, so to speak, with the magnificent cellist. Often, when the two took a bow to acknowledge the lusty applause, Kanngiesser would show his appreciation for Zuniega not only with a handshake but also with a tight embrace.