Customer Reviews

Beethoven: Complete Music for Cello & Piano

5 star:		(17)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

This outstanding compilation contains some of Ludwig van Beethoven's lesser known chamber music masterpieces. In his lifetime, Beethoven composed 5 cello sonatas and three sets of variations for cello and piano. Pianist Sviatoslav Richter and cellist Mstislav Rostropovich, two of the great Russian masters of their instruments in the 20th century, give brilliant performances of the cello sonatas. Richter's and Rostropovich's enjoyment of the music and each other is readily evident. They make a superb team throughout, catching every mood and nuance of each sonata.

Beethoven based two of the variation sets on Mozart's "Magic Flute," and the third set on Georg Fridrich Handel's "Judas Maccabeus." Jean Francaix (pianist) and Maurice Gendron (cellist) are equally brilliant in their performances of these cello and piano variations. As always with Philips Duo releases, sound quality is absolutely first class. Lovers of Beethoven's music (especially his chamber works) will find this 2-CD set an essential addition to their collection.

There is nothing much to add on positive comments of other reviewers on the marvelous interpretation by Richter and Rostropovich, the gorgeous sound of cello, emotional and perfectly balanced by the piano in the sonates. This record has been awarded three time as the year record in France, Germany and Japan? But what to say on the variations especially the one adapted from Mozart's Zauberflote on the theme of Papageno? Listen the 7 variations (track 7 on the record-2) a melody so beautiful that you will never forget it! Who knows Maurice Gendron? the timbre of his cello is rich, deep, textural and the rythm perfect. This is the surprise added already to the fantastic duo of artists mentioned before. This set is a reference not only for the sonates but also a pleasure always renewed when listening. Philips has made a good choice by completing the CD with variations from Handel and Mozart. Gohead....buy it and dream about, it is wonderful.

I wholeheartedly agree with the five stars for this performance. The synergy between Rostropovich and Richter is uncanny at times. I have nothing new to add on that score that has not already been said. Why three stars, then? The production. These recordings were originally made in the early sixties. Sonata 3 in the UK in 1961, sonatas 2&4 in Austria in 1962, sonatas 1&5 in the Netherlands in 1966. They were remastered and released in 1994. Philips has a reputation for quality recordings, but whoever worked on these dropped the ball. The first sound you hear when the cd begins is not beautiful music, but a high, harsh hissing that remains active throughout the recordings. This at times distracts from the Pianissimo passages, and is absolutely disruptive of the Pianissimissimo passages, with the softest of notes blending into the hiss.

Now, that having been said, if you are someone who can filter out background noise, then this might not be an issue at all. If you are sensitive to such noises, and prefer crystal clarity to your recordings, then this one might well disappoint, as it did with me.

I take issue with one of the reviewers below. This set of Beethoven Cello Sonatas is one of the greatest treasures of the classical catalogue.

This performance is absolutely magnetic from first to last. I have seldom come across a performance that is so compelling. I never thought of Beethoven's Cello Sonatas among his "stronger" works - like his Symphonies, Piano Concertos and Piano Sonatas. But these two great artists really makes the case for Beethoven's Cello Sonatas. Such compelling performances, such ravishing cello playing, such clear and wonderfully infectious piano playing. This cycle keeps you magnetized from first to last.

A strong point of this cycle is that Richter views the Cello as an EQUAL partner with the piano. So the piano here never dominates the performance unlike many other recordings. The Cello and the Piano are like two best friends having a wonderful conversation. Richter plays the piano fantastically - every note is in place and the tempi marvellously judged. There is an infectious spring in his playing - like lambs skipping about joyfully. Rostropovich on the other hand rises up to Richter's challenge and plays very sweetly, with spring when needed. Indeed, the music emanating from his Cello has a wonderful sweetness that I seldom hear. The legato is simply fabulous. Lynn Harrell on the Ashkenazy set is surely not up to this standard. The Ashkenazy/Harrell set by the way is also outstanding. But the performance is of a different "perspective" more hard-driven. Here, there is a wonderful singing line, and a poetic insight which is so captivating.

Charges of "static and humorless", "banal and savorless", "bringing out neither the majesty and fervor nor the lyricism and wit of Beethoven" ? This is no pure display of technical bravura but music making on the highest plane.

This recording provides the perfect balance between the two instruments, on top of just the great performing abilities of the two musicians. I was left shaking for moments after listening to the entire recording; both of them put a remarkable amount of emotion into their playing. Do not even consider another recording; this is the best.

Beethoven's cello sonatas are not as widely known as his symphonies, concerti, piano sonatas, or even his string quartets or violin sonatas. Yet they are among the finest pieces of music ever composed. The five cello sonatas span most of his composing career, with two (Op. 5) from his early period, when he was composing much in the style of Haydn, one (Op. 69) from his middle period, to which most of his most popular works belong, and two (Op. 102) that ushered in the intensity and introspection of his late period.

Richter and Rostropovich give passionate, vigorous performances here. They have clearly thought every note and every phrase through, and, having done that, hold nothing back in the performance.

This set would rate five stars at twice the price.

I've enjoyed this recording for years. In the Sonatas, Rostropovich's cello is strong and the difficulty of having the cello and the piano together is remedied wholly by Richter's capable, modulated keyboarding. I especially love the second movement (Rondo) of Sonata No. 2 in G minor. (I suspect that the recording engineers also played their part.) The Sonatas sound as though they were recorded in a large, empty hall. Perfect.

Yet nothing can be taken from Gendron's cello performances in the Variations. Amazing depths in Variations on "Bei Mannern, welche Liebe fuhlen"! (He's also performed quite a bit of Bach out there.) Jean Francaix is the pianist in these performances and I especially enjoyed his parts in 12 Variations on "Ein Madchen oder Weibchen" based on Mozart. The Variations have more of a "chamber" feel as recorded.

In short, turn off all distractions, grab your favorite soothing beverage, lower the lights, and let this recording ease what ails you.

I already owned the famous Ashkenazy/Harrell set from Decca for a long time. One day I decided to try this out. It's stunning. While Ashkenazy is more forceful, Richter is lighter and more lyrical, and faster too. This recording is also clearer than the Ashkenazy set. What to say? Both are 5 stars. I think this set is a shade better than Ashkenazy's set. Buy both if you can. If not, buy this set as the playing is not only a shade better but you get 3 bonus fill-ups in the form of 3 sets of variations written by Beethoven.

Okay, so a couple of years have passed by and my opinions AGAINST this recording have become somewhat moderate.. and, even though it doesn't REALLY matter, seeing as how my review seems to get on the nerves of so many Slava lovers out there I am changing my words.. this is what Edit button is for, yes? :)

I still don't like this recording as much as I like some others which I mention below. Why: for me this often sounds more technical than musical, although of course still musical than un-musical, mostly due to places where things are played too fast to appreciate the phrase. For example, the way the Rondo in the g minor sonata is played on this recording directs the attention to the extremely-clean fast notes rather than the musical value of the phrases. It goes by so fast that I can't even recall what notes I just heard; what is this, Paganini? Even in the first movement of the A Major Sonata (No. 3), rushed moments are found at differet places.

Nevertheless, Rostropovich does put out a great amount of lyricism in this recording. Richter is, of course, just awesome, and between these two musical giants are many a great moment of musical subtleties and blood-boiling fire, and it would be completely mindless of anyone to call this recording, out of all adjectives, banal. Moments like the beginning of the second movement of the A Major Sonata are simply ethereal (although again, I just can't like how he bams right up to the top just before it goes to Allegro vivace - but then the Allegro vivace is played with exemplary control and lyricism). There now.. happy? :)

So I hope this now brings all of us to reconciliation. I do know what I'm talking about, and I love Slava and I love the way he plays (most things), have enormous respect for Richter; and I, too, like numerous things in this recording. See, I bumped my stars up to 4 now! But we still have differences in our tastes and though I do not mean to dismiss a certain universality of things truly beautiful, to each his own.. although I think I have made up for my "insult" to your music gods now. :)

And for those of the unconcerned party, I also suggest Ma/Ax recording of the sonatas and variations for their most unaffected and fresh interpretation; for the Beethovenian temper, passion and lyricism, Du Pre/Barenboim performance is worthy of every bit of your investment. A more classical presentation of extremely refined taste is the Fournier/Kempff set, which also contains all the other works for cello and piano composed by Beethoven at a super budget price.

Rostroprovich and Richter are poster children for the merits of recording the lesser-known works of past masters. It is astonishing to believe that the Beethoven of, say, Symphonies, 3, 7, and 9 also sat himself down to compose small music like these pieces for two amiable but sometimes socially incompatible instruments.

That he did so is testimony to the range of his genius, a profound gift that we are prone to appreciate only for its depth.

The phrasing and coordination that the two R's bring to this ensemble makes the two instruments play almost as one.

Beethoven would have sat back in his chair, closed his eyes, and allowed himself the hint of an avuncular smile as though to say 'Now *this* is what I had in mind ... !'