- Performer: Kliegel; Piemontesi
- Composer: Schumann Camillo
- Audio CD (Feb. 22 2011)
- Number of Discs: 1
- Format: Import
- Label: Ncl
- ASIN: B004GX91XY
- Other Editions: Audio CD
- Average Customer Review: Be the first to review this item
Cello Sonatas Import
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Chamber music occupies the largest part of Camillo Schumann' extensive compositional output, his admiration of Brahms, Liszt and Rachmaninov evident at every turn. The cello sonatas and concert pieces on this disc also demonstrate Schumann' own distinctiv
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The Cello Sonata No. 1 in G minor (1920s) is the best work on this recording. It opens with a warm and beautifully yearning “Allegretto moderato,” hoisting a melodic primary theme and an impassioned development section. The same yearning and melancholy continues in the “Andante cantabile ed espressivo,” which lives up to its expressive marking. In the finale, dramatic piano outbursts and striving cello lines prevail. There’s an exquisite interplay of instruments that reminded me of Beethoven’s approach to instrumental dialogues.
The Cello Sonata No. 2 in C minor (1932) is aesthetically in the same cosmos as the first sonata, though not quite as compelling or tuneful. It opens with a serious and mercurial “Allegro ma non troppo,” featuring a theme that sounds like the opening of Schubert’s “Unfinished” symphony. A tender and songful “Romanze” follows, with expressive lyrical qualities but not much in the way of memorable content. Brahms and Beethoven’s unusual turns of harmony are suggested in the lilting “Scherzo.” I think the finale is the best movement: a flowing and impassioned escapade with sonorous rich piano writing.
The two Concert Pieces (1920) for cello and piano are admittedly of marginal worth, but the “Romanze” is surprisingly effective. It has lyrical warmth, expressive low registers, and a stately central section with a musical phrase similar to La Folia.
Bottom line: Maria Kliegel’s performances are ravishing. I think these sonatas might shrivel and come off as less impressive without her gorgeous tone and persuasive interpretations to bolster them. Camillo Schumann’s poetic, lyrical, and earnest cello sonatas will appeal to those who like Brahms and post-Romantic chamber music. However, I’d strongly recommend listening instead to another peripheral composer of the same namesake: Camillo's older brother Georg Schumann (1866-1952). His Cello Sonata and Piano Quartet are far superior to Camillo’s efforts.
These cello and piano works are both Brahms and Liszt inspired but have an added 20th century freshness to them. The music varies from highly energetic sections to some more mysterious reflective passages throughout these works, without becoming redundant in any way.
This is one of Marie Kliegel's more recent (2009)and absolute finest recordings. The pianist Francesco Piemontesi (whom I had not heard earlier) exhibits pure musicality with an impeccable technique, and the two musicians together definitely have a chemistry, as I've found the case to be with Maria Kliegel's early 90's recordings with Kristin Merscher.
This record is a keeper and a bargain! I hope these two wonderful musicians record more albums together.