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Comment: No Dust JacketPacked with care; Shipped promptly.This item shows wear from consistent use but remains in good condition and is readable. It may have marks on or in it, and may show other signs of previous use or shelf wear. May have minor creases or signs of wear on dust jacket. Packed with care, shipped promptly. Audio CD
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Cello Sonata Import

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Audio CD, Import, October 27, 1989
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$9.32 $4.97

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Martha Argerich was born in Buenos Aires. From the age of five, she took piano lessons with Vicenzo Scaramuzza. In 1955 she went to Europe with her family, and received tuition from Friedrich Gulda in Vienna; her teachers also included Nikita Magaloff and Stefan Askenase. Following her first prizes in the piano competitions in Bolzano and Geneva in 1957, she embarked on an intensive programme ... Read more in Amazon's Martha Argerich Store

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Product Details

  • Audio CD (October 27, 1989)
  • Number of Discs: 1
  • Format: Import
  • Label: Dg Imports
  • ASIN: B00000E3HL
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #132,419 in Music (See Top 100 in Music)

1. Allegro Moderato
2. Scherzo. Allegro Con Brio
3. Largo
4. Finale. Allegro
5. Introduction. Lento
6. Langsam, Mit Innigem Ausdruck

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Most Helpful Customer Reviews

9 of 10 people found the following review helpful By DAVID BRYSON VINE VOICE on January 25, 2005
Format: Audio CD
This is a fine specimen of what duo-playing can and should be. My pleasure in this record is in no small measure down to my enthusiasm for these particular works, among the most attractive and significant products of early romanticism. Chopin's cello sonata seems to me an even better work than his piano sonatas. None other than Tovey gives it high marks for construction, even forgetting for once to include his near-invariable reference to Beethoven as the benchmark in all such matters. Chopin had written for the cello in his early years, and the opus 3 introduction-and-polonaise is included here, but the sonata has a sheer self-assurance about it that sounds as if he had been composing for it all his life. There is even a full-scale slow movement - not long but not a miniature either - and that was something that Beethoven had avoided, no doubt because the cello of all instruments was most liable to show up the feeble sustaining-power of the pianos of his time. I recently heard a recital on a piano made for Clara Schumann by her father's firm, and matters had obviously improved since Beethoven's time - I was surprised by the volume and sustained tone it was capable of - but even Brahms was still cautious about slow movements in his cello sonatas. In the first there is none, in the second he has the cello playing largely pizzicato. Chopin adopts the simplest and most natural solution, a lyric melody on the cello with the piano mainly reduced to accompaniment.

What I love about this record is the sheer full-bloodedness of the playing. The recorded balance is really very good, much better than on the notable disc of the Brahms sonatas that Rostropovich did with Serkin, and the sound of the two instruments has the quality that such playing deserves and demands.
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1 of 1 people found the following review helpful By Frank on January 8, 2014
Format: Audio CD Verified Purchase
I generally concur with David Bryson's nicely rounded review, and share his enthusiasm for this recording. I've played quite a few of Chopin's piano works, and know something of the role of this late cello sonata in his biography. His break with George Sand was echoed by the allusion to Schubert's Winterreise in the first movement : "I came here a stranger; and as a stranger I depart." Benita Eisler suggests that the intensity of this hidden meaning was the reason why Chopin omitted the first movement at the premiere performance. When I first read the piano accompaniement, I didn't find the passion that Argerich brings to this recording, and which Rostropovish complements perfectly. I was looking for something darker and resigned like "Gute Nacht," but Argerich's Schumannesque intensity made it a great pleasure to hear this unfamiliar piece for the first time - even though I would play it differently.

Sand attempted to impale Chopin in "Lucrezia Floriana" like a lepidoptorist mounting a butterfly, but left much of his tenderness out of her characterization of Prince Karol. Chopin pretended not to know that he was the model for Karol, until he was near death. Perhaps he supposed that Sand, who loved Schubert, would fail to notice the musical allusion in his cello sonata, just as she might have believed that he didn't know that she was slandering him in her novel. The cello gave voice to Chopin's Schwannengesang, when he was nearly inclined to speak in a language other than music, and when he had so much yet to say.
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