Beethoven: Cello Sonata No. 3, Op. 69; Cello Sonata, Op. 64

Ludwig van Beethoven (Composer), Nina Tichman (Performer) | Format: Audio CD

Product Details

• Performer: Nina Tichman
• Composer: Ludwig van Beethoven
• Audio CD (March 18, 2003)
• Number of Discs: 1
• Label: Naxos
• ASIN: B00008J2V4
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #40,299 in Music (See Top 100 in Music)

Customer Reviews

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6 of 6 people found the following review helpful:

5.0 out of 5 stars Kliegel and Tichman score again!, March 31, 2003

By 

J Scott Morrison (Middlebury VT, USA) - See all my reviews
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This review is from: Beethoven: Cello Sonata No. 3, Op. 69; Cello Sonata, Op. 64 (Audio CD)

This is Volume 2 of what appears to be a series including the complete music for cello and piano of Beethoven. I was very positive about the first issue, which contained the two Op. 5 sonatas, the transcription of the horn sonata, Op. 17, and the 'Bei Männern' variations, Op. WoO 46. This volume contains just one cello/piano sonata verifiably by Beethoven: No. 3 in A, Op. 69. Also included are the 'Ein Mädchen oder Weibchen" Variations, Op. 66, and the arrangement for cello and piano of the String Trio, Op. 3.

The Third Cello Sonata, Op. 69, is a relatively mature work, written in 1808 and certainly stands head and shoulders above the Op. 5 sonatas. It is dramatic, tuneful, rhythmically interesting (particularly in the slightly three-legged scherzo movement). The performances here are big and romantic. One could easily imagine one was listening to Rostropovich. Maria Kliegel is a superb cellist; she not only has technical virtuosity, but there is a brain behind her music-making. And her piano partner, American Nina Tichman, is fully her equal.

The light-hearted 'Mädchen oder Weibchen' variations, taken from Papageno's aria of that name in Mozart's 'The Magic Flute,' are played transparently and with leaner tone than in the big sonata. Beethoven was certainly one of the greatest exponents of the variation form (think of the Eroica or Diabelli Variations, say) but this set gives the impression of simply being written for 'good fun'; even the melancholy minor key variation, No. 11, seems just slightly satirical. And good fun it is. Kliegel and Tichman don't overburden their performance with mannerisms, which is all to the good.

The E-flat sonata, assigned the opus number 64, was published in 1807; the string trio from which is was taken was written no later than 1794, and perhaps even before Beethoven moved from Bonn. It has never been clear whether Beethoven actually wrote the arrangement. The six-movement sonata is given a lovingly nuanced performance here; the adagio movement is sweetly sung by both instrumentalists.

I can recommend this issue, and tell you that I am eagerly awaiting the next issue, which will undoubtedly contain the two late Op. 102 sonatas, the crowning glories of 'The Five.'