SHEKU KANNEH-MASON 4831879
[Cohen/Hodge / "Hallelujah"]: spine-tingling . . . This might be the most passionate classical cover of the iconic song we've heard . . . a stunning recording . . .
. . . Julian Lloyd Webber thinks he is 'probably the most outstanding British cellist I have seen', and predicts a great future for him . . . [room is] found for Fauré's "Après Un Rêve", on which Sheku shapes the long melodic line most beautifully, and with a singing tone that makes the most of his 17th-century Amati instrument. His sister Isata accompanies attentively on piano. Lastly, there's his own transcription of Ernest Bloch's Abodah, originally written for violin and piano. Here the deep, dark ruminative opening suggests an outstanding interpreter of Elgar's Cello Concerto is waiting in the wings.
. . . he is an excellent cellist for one so young; he has bags of talent plus an amazing ability for imparting passion, pathos and raw emotion of the kind that makes the hairs on the back of your head stand up . . . He plays the Fauré in such an insightful way with just the right amount of wistful nostalgia while his interpretation of the Bloch piece is imbued with a good measure of palpably sad reflection. The Leonard Cohen is very moving . . . Not for nothing has Sheku Kanneh-Mason been described as "a young Jacqueline du Pré"; be assured this little sampler is part of history in the making . . .