Ludwig van BEETHOVEN (1770 -
1827)
The Sonatas for cello and piano.
CD1
Cello Sonata No 1 in F Major. Op 5 no 1
[24.58]
Cello Sonata no 2 in G Minor. Op 5 no 2
[24.59]
CD2
Cello Sonata No 3 in A Major. Op 69 [27.22]
Cello Sonata No 4 in C Major. Op102 no 1
[14.55]
Cello Sonata No 5 in D Major. Op 102 no 2
[20.25]
Horn Sonata in F Major. Op 17*
[12.10]
Lynn Harrell (cello), Barry
Tuckwell (horn)*,Vladimir Ashkenazt (piano)
Recorded St. Barnabas Church, London Sept 1984 (Cello Sonatas), Kingsway
Hall, London. December 1974 (Horn Sonata)DDD /
ADD*
DOUBLE DECCA 466 733-2
[125.23]
Crotchet
Amazon
UK
With the reluctance or inability of the bigger recording labels to make new
recordings these days, their bread and butter comes from the re-releasing
of products of earlier years. Such is the case with this CD which dates in
the main from 1984 and was favourably reviewed at that time when compared
to the then current bench-mark issue by Rostropovich and Richter. Subsequently
it seems to have gone into the recording industry's limbo-land. There is
no reference with the disc to re-mastering so the CD will be as originally
released.
The five sonatas are played in the correct sequence. The Opus 5 pair dates
from 1796 when Beethoven had written his B Flat Piano Concerto and some String
Trios but was then essentially known as a keyboard performer rather than
a composer. The two works reflect this with the prominence of the piano writing
typified by the extended cadanza near the end of the long Allegro
section of No 1. Both have slow introductions leading to lengthy
Allegro sections and Rondo finales and the partnership's expressive
playing with the feeling of freshness and spontaneity are irresistible.
The A Major Sonata, Op 69 is from 1807 and the composer has moved on - he
was concurrently writing his Fifth Symphony. It is a magnificent work, full
of lyricism in the outer movements and the brief, beautifully contemplative
Adagio cantabile that follows the drive of the Scherzo. The
two late sonatas (from 1815) show Beethoven about to enter his last, great
period of creativity. No 1 of the Opus 102 pairing has an unusual layout
with a five section, two movement format which has slow introductions to
quick movements. This juxtaposition at the first change from Andante
to Allegro is as striking as almost anything else Beethoven wrote,
calling for a frantic change of mood. A tiny Adagio leads to the
contrapuntal Finale. The last of the five, Op 102 / 2 has the conventional
three movements and is the only one of the set that has a real slow movement
- a truly intense and soul-searching Adagio that leads to the complex
fugue of the Finale.
The filler on the pair of CD's is the Horn Sonata in F with Barry Tuckwell
as a most engaging partner to Ashenazy.
It is difficult to find anything adverse to say about this release. Great
music - certainly in the last three Sonatas - an excellent recording and
a two soloists who are quite magnificent, individually or in tandem. Lynn
Harrell has a splendid tone and a feeling for lyricism that always impresses,
and his phrasing is sensitive and controlled. Ashkenazy, here - as ever -
has a feeling for what lies behind the printed pages that denotes the true
artist far more than merely superb technical skills ever do. In works like
these their playing as a pair is what matter and it is exemplary.
Highly recommended on all counts.
Reviewer.
Harry Downey
