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Beethoven: Complete Music for Cello & Piano
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Customers who bought this item also bought
|1. Sonata for cello & piano No. 1 in F major, Op. 5/1: Adagio sostenuto - Allegro|
|2. Sonata for cello & piano No. 1 in F major, Op. 5/1: Rondo, Allegro vivace|
|3. Sonata for cello & piano No. 2 in G minor, Op. 5/2: Adagio sostenuto ed espressivo|
|4. Sonata for cello & piano No. 2 in G minor, Op. 5/2: Rondo, Allegro|
|5. Sonata for cello & piano No. 3 in A major, Op. 69: Allegro ma non tanto|
|6. Sonata for cello & piano No. 3 in A major, Op. 69: Scherzo, Allegro molto|
|7. Sonata for cello & piano No. 3 in A major, Op. 69: Adagio cantabile - Allegro vivace|
|1. Sonata for cello & piano No. 4 in C major, Op. 102/1: Andante - Allegro vivace|
|2. Sonata for cello & piano No. 4 in C major, Op. 102/1: Adagio - Allegro vivace|
|3. Sonata for cello & piano No. 5 in D major, Op. 102/2: Allegro con brio|
|4. Sonata for cello & piano No. 5 in D major, Op. 102/2: Adagio con molto sentimento d'affetto|
|5. Sonata for cello & piano No. 5 in D major, Op. 102/2: Allego - Allegro fugato|
|6. Variations for cello & piano in F major on Mozart's 'Ein Mädchen oder Weibchen,' Op. 66|
|7. Variations for cello & piano in E flat major on Mozart's 'Bei Männern,' WoO 46|
|8. Variations for cello & piano in G major on Handel's 'See, the Conqu'ring Hero comes,' WoO 45|
Beethoven was the first great composer of cello sonatas, and he remained really the only one until Brahms wrote two at the end of the last century, and then in our own time Martinu wrote three. Aside from a few individual works by other composers (Grieg, Rachmaninov, Shostakovich, Barber, and Britten), that about sums up the entire repertoire for this particular combination. It's a difficult medium, because the low notes of the cello tend to get covered by the bass of the piano, and balance between the two instruments is always precarious. Of course, when you have artists of the caliber of Rostropovich and Richter, there's nothing to worry about. This classic set has been the reference edition since the day it was issued, and it's now available at a budget price. --David Hurwitz
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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.
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 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.
Top international reviews
Realizzata tra il 1961 e il 1963, l’incisione di Richter e Rostropovic (di cui esiste anche una variante dal vivo, ripresa a Edimburgo il 31 agosto del 1964) rispecchia uno dei più brillanti momenti di forma e di affiatamento dei due grandissimi interpreti, che sembrano letteralmente galvanizzarsi a vicenda, coniugando impeto, brillantezza di suono e suprema nitidezza di linee: sicuramente uno dei vertici assoluti nella copiosa e prestigiosa discografia di queste pagine (l’unica versione di livello paragonabile è forse quella di Casals e Serkin, che incarna una concezione profondamente diversa, più “olimpica” e meditativa).
L’album comprende anche le giovanili serie di variazioni su due temi del Flauto Magico e sulla marcia da Giuda Maccabeo, eseguite però non dai due grandi sovietici, ma da Maurice Gendron e Jean Françaix.
indispensable dans sa discothèque