MUSIC REVIEWS : CELLIST LANDAUER IN MEDAL SERIES

Almost unnoticed, the cello has quietly achieved parity in solo stature with the violin. One indicator locally is the Gold Medal series for young performers at Ambassador Auditorium. Timothy Landauer’s recital Monday night evened the solo appearances between violinists and cellists at nine apiece over eight years.

One reason for this is comparatively fresh repertory. Richard Strauss’ Sonata in F sings with youthful ardor, making a much more direct and persuasive example of the genre than his later Violin Sonata. Landauer swept it along with conviction in pure, clean tones, albeit occasionally out of tune.

Shostakovich’s Sonata in D minor is a wonder--a bravura Scherzo and typically brooding Largo lodged between substantial, emotionally active outer movements. The young, China-born cellist brought illuminating intelligence to bear on it, as well as unflappable technique and his singing tone.

That clarity of sound, and a gift for nuance of phrasing, ennobled Beethoven’s familiar “Mozart” Variations. Landauer also has technique to burn, which is what he did with Sarasate’s “Zapateado”--so fast it lacked all character and terpsichorean weight. He controlled the volatile energy of Miklos Rozsa’s unaccompanied “Toccata Capricciosa” better.

Doris Stevenson, a faculty member at USC where Landauer is still studying, provided assured partnership. Only in the Strauss Sonata were there moments of scrambled ensemble. She gave Beethoven elegance, Strauss passion and Shostakovich depth. With Landauer’s big sound, balance was never a problem, enabling Stevenson to play with proper authority.

If there could be any doubts about the nimbleness of his bow or the generosity of his spirit, Landauer removed them with three encores. Not only is he a musician of consummate technique and confident artistry, but one of great stamina as well.

Those encores were Paganini’s Variations on a Theme by Rossini (on One String); David Popper’s “Dance of the Elves” and Schubert’s Introduction, Theme and Variations, Opus 82, No. 2.