Brahms: Sonates pour violoncelle et piano / Sonatas for Piano and Cello
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|1. Sonata For Cello And Piano In E Minor, Op. 38: I. Allegro Non Troppo|
|2. Sonata For Cello And Piano In E Minor, Op. 38: II. Allegretto Quasi Menuetto - Trio|
|3. Sonata For Cello And Piano In E Minor, Op. 38: III. Allegro - Tranquillo - Piu Presto|
|4. Sonata For Cello And Piano In F Major, Op. 99: I. Allegro Vivace|
|5. Sonata For Cello And Piano In F Major, Op. 99: II. Adagio Affettuoso|
|6. Sonata For Cello And Piano In F Major, Op. 99: III. Allegro Passionato|
|7. Sonata For Cello And Piano In F Major, Op. 99: IV. Allegro Molto|
|8. Sonata For Cello And Piano In D Major, Op. 78: I. Vivace Ma Non Troppo|
|9. Sonata For Cello And Piano In D Major, Op. 78: II. Adagio|
|10. Sonata For Cello And Piano In D Major, Op. 78: III. Allegro Molto Moderato|
As ruthlessly critical of his own work as he was tolerant of the compositions of others, Johannes Brahms destroyed at least three sonatas for violin and piano prior to completing Opus 38. This work for cello and piano is the first of seven in the genre that he considered worthy of inclusion in his oeuvre, a collection that includes three sonatas for violin, two for cello, and two for clarinet. The composition of this work coincides with Brahms’s initial attempt to secure the directorship of the Vienna Singakademie in 1862, though it was not completed until 1865, by which point he was fully entrenched in his new function.
"Polished, sensitive playing, well recorded; Dyachkov and Saulnier present Brahms’s musical argument with impressive clarity and understanding." -- Gramophone
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The playing on this album floored me. Saulnier is a magnificent Brahmsian, firmly in command of structure, gesture and nuance; and Dyachkov plays magnificently with and very appropriately "under" him, as so few star cellists have the nerve or the humility to do. (Saulnier was a Fleisher pupil for a time and his playing on this album definitely put this Fleisher fan happily in mind of the older maestro's magnificent Brahms concerto recordings.)
That's not to say Dyachkov is a wilting flower, however. He's assertive when the score demands. To boot, this young virtuoso has a golden, honey-hued tone that should be the envy of the world's top ranking players. The personality is virile and thankfully never precious or mannered. It should be a treat to follow this young man's career.
The dramatic build-up in Op. 38's Allegro was measured, steady and magnificently sustained. I was on the edge of my seat, but the flood it unleashed-- well, I'm repeating myself and gushing, too -- it just floored me. Wow.
Their performance of the composer's arrangement of his violin sonata has to be the finest I've heard. It's the first time the cello has sounded so completely "at home" in this work.
I love this record.