Allegro Non Troppo - Steven Isserlis, Peter Evans (5) - Brahms Cello Sonatas (CD) download full album zip cd mp3 vinyl flac
Many would say that it is the most beautiful as well, capable of a range of sonorities unmatched by any other orchestral instrument. The earliest extant cellos come to us from midth-century Italy, yet it was years before they were taken seriously as solo instruments; while several works for unaccompanied cello date from the first half of the 's, the instrument was used principally as a bass instrument - all-important in Baroque music, but low-profile nonetheless. There are some, indeed, who assert that Beethoven's Opus 5 sonatas of are the first ''true'' cello sonatas, with cello and piano treated as equal partners.
That is something of an exaggeration, although they are certainly the earliest in the standard repertory. Their place in that repertory is reflected by the frequency with which they have been recorded: the Schwann catalogue contains no less than 10 listings.
Among these are two performances which could hardly be more difffernet in approach. Bengtsson's tone is focused and sweet and his playing sure and nimble. These are tender readings of music which is attractive throughout if not of great substance. It has taken some time, but the laudable trend toward playing music on period instruments is being extended to post-Baroque composers such as Mozart and Beethoven.
The benefits of fine performances on appropriate instruments can be great; quite apart from obvious differences in timbre, balances among instruments more truly reflect what the composer is likely to have had in mind. The Beethoven cello sonatas are an example; while the cello has evolved sincethe size and tone of its voice have not undergone a radical alteration. The piano, on the other hand, has grown enormously in virtually all ways.
The 18th-century instrument was lighter in both construction and tone. It stands to reason that today's piano-cello duo should sound very different from that of Beethoven's time.
The performances, while not as fresh-sounding as those of the Danish pair, are full of nuance and technical skill. This, his first surviving duo-sonata, is an important work, in some ways a turning-point. His previous sonata had been the Third Piano Sonata, Op 5, a work of tempestuous youth, written in and prefaced by a quotation from the romantic poetry of Sternau.
La sonate, op. Die Cellosonate Nr. Dies, seine erste erhaltene Duosonate, ist ein bedeutendes Werk, das in mancher Hinsicht einen Wendepunkt markiert. Seine vorhergehende Komposition in dieser Gattung war die Dritte Klaviersonate op. Steven Isserlis celloPeter Evans piano.
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