Observer Sunday 3/2/13

Fiona Maddox

“The star turn was SCO principal cellist David Watkin, soloist in Schumann's Cello Concerto. The work was not played in the composer's lifetime and has hardly made it to the mainstream since. Here the question is "Why not?" This small, close-knit ensemble gave buoyant support to one of their own. The moment in the brief slow movement when the stand-in principal cellist – sitting in Watkin's usual seat – duetted with the soloist had special intimacy. Afterwards, hushed and flawless, he played the Allemande from Bach's D major suite.”

Herald 28/1/13

Michael Tummelty

“..the playing of the Schumann with SCO principal cellist David Watkin as soloist, urgently suggested a re-think of the concerto, a much better piece than many people allow. Watkin’s beautiful performance capturing the drama and the poetry of the music, with it’s melting little co-ordination in the brief slow movement between soloist and the acting leader of the cello section, exquisitely characterised the intimacy of the music of this most individual of Romantic composers. Watkin followed the concerto with a heart-stopping encore in the Allemande from Bach’s Sixth Cello Suite, one of those soulful contemplations where time stops and all that remains is th e concentration of the moment enshrined in music: philosophy in sound.”

Seen and Heard International  30/1/13

Simon Thompson

“Watkin produced some gorgeous sounds from his instrument, particularly the lavish middle range and the chocolaty lower notes which caught the cello’s resonance perfectly. He was at his finest in the slow movement which he phrased as one long, seamless flow of melody, and the orchestra accompanied him sympathetically throughout, particularly impressively in the accompanied cadenza that ends the work. As well as showcasing a great conductor, this evening was more proof of the gold that the SCO holds within its own ranks.”

Bachtrack  28/1/13

Alan Coady

Complementing Mendelssohn's C major, the first half moved to the relative minor for Schumann's Cello Concerto in A minor, Op. 129 (1850). Having heard a performance of his Piano Concerto (in the same key) the previous evening, is was interesting to hear, so soon after, songsmith Schumann's writing for a soaring, sustaining instrument. The soloist was the SCO's own David Watkin and he delivered an excellent performance. There is some notable high-wire work in this concerto, but in the hands of a composer such as Schumann there is always more to such writing than mere altitude. In the opening movement, Nicht zu schnell, beautiful harmonic surprises intensified these corners. Watkin navigated these moments with great feeling. Equally impressive in this concerto, and in this performance, were the impassioned moments in the cello's lower register. For obvious acoustical reasons not all composers are inclined to divide the drama between opposing ends of the pitch spectrum but, skilfully handled as it was here, it enriches the dramatic palate considerably. The response to this performance, from audience and orchestra alike, was so warm that Watkin rewarded us with a deeply felt Allemande from Bach's Cello Suite No 6, transposed down from D major to G major.

Electric Partners
"David Watkin made the arresting opening phrase of Debussy's Cello Sonata ring out heroically in that reverberant acoustic. The sense of fleeting glimpses was well captured, as was the range of tone, by both cellist and his pianist, Howard Moody. This is an exciting partnership. The dialogue of the Rondo in Beethoven's Sonata in G minor, op 5 no 2 was a particular delight. But the performance of Brahms's F major Sonata was absolutely electrifying, its waves of passion transmuted into virile, resonant melodic lines. I hope to hear this duo again."
Debut Recital, St John's Smith Square, 1988
Barry Millington, The Times