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• W330711803 abstract "BEETHOVEN. Sonatas and Variations for Cello and Piano (2 CDs). Bion Tsang, cello; Anton Nel, piano. Sonata no. 1 in F Major, Opus 5, no. 1 (24:36); no. 2 in G Minor, Opus 5, no. 2 (27:58); no. 3 in A Major, Opus 69 (27:20); no. 4 in C Major, Opus 102, no. 1 (14:53); no. 5 in D Major, Opus 102, no. 2 (21:27); Twelve Variations on a 1 heme from Handel's Judas Maccabeus, WoO 45 (12: 16); Twelve Variations on Ein Madchen oder Weibchen from Mozarts Die Zauberflote, Opus 66 (9:41); Seven Variations on Bei Mannern, welche Liebe fuhlen from Mozart's Die Zauberflote, WoO 46 (9:38). Notes by K. M. Knittel. Recorded live in concert April 9, 2005, at Jordan Hall, New England Conservatory, Boston, AM. ©2006. Artek AR-0025-2. $25.97. Rating **** BEETHOVEN. Cello Sonatas 1 & 3, Variations: Sonata no. 1 in F Major, Opus 5, no. 1 (22:23); no. 3 in A Major, Opus 69 (25:01 ); Twelve Variations on Ein Madchen oder Weibchen from Mozart's Die Zauberflote, Opus 66 (8:25); Twelve Variations on See the conqu'ring hero comes from Handel's Judas Maccabeus (11:01); Seven Variations on Bei Mannern, welche Liebe fuhlen from Mozarts Die Zauberflote, WoO 46 (8:34). Anne Gastinel, Testore, cello from 1690; Francois-Frederic Guy, Steinway piano. Recorded July 2004 in Varese Hall (CNSMD), Lyons, France. Liner notes by Jeremy Nicholas in English and French (translated by Michel Chasteau). Naive V 4995, 75:25. ©2004. $16.99. Rating **** Beethoven composed relatively few sonatas for cello and fortepiano, in comparison with the fortepiano sonatas (thirty-two with opus numbers) and the violin sonatas (ten) - a mere five sonatas, in addition to three sets of variations. But those five span much of his creative lifetime, representing each composing period - early (the two Sonatas in Opus 5, 1796), middle (Opus 69, 1808), and middle-late (the two Sonatas, Opus 102, 1815). The variations are all early works, dating from 1796 to 1801. One might say that Beethoven pioneered this genre of the cellofortepiano duo sonata, although there are certainly many examples of cello sonatas by Italian and French composers roughly contemporaneous with Beethoven, most notably Boccherini (but not Mozart or Haydn!) The cello was going through a transitional period during most of the eighteenth century, developing from its function in the Baroque as a low string instrument supporting the bass line in figured bass to that of a singing instrument capable of expressive melodies and rich sound. The advancement of string technique contributed to the rising interest in the expressive and soloistic possibilities of the cello, and Beethoven took full advantage of the situation. Beethoven's interest in the cello was probably aroused when he visited Berlin in 1796, and made an appearance at the court of Friedrich Wilhelm II, a great lover of music and an amateur cellist. There he encountered the French cellist Jean-Louis Duport, arguably the best cellist of his day. He composed the two sonatas of Opus 5 there and played them in concert with Duport. The Sonatas, Opus 5, reveal the confident, exuberant young Beethoven at the outset of his career, often witty and playful, sometimes serious and moving. The fortepiano part, typically, dominates the duo, but the cello is given some share of solo material. Both sonatas are in two movements, opening with slow introductions followed by fast sonata form movements with rondos for the finales. The Sonata in A Major, Opus 69 - by far the most known and popular of the five - mixes the spirit of the earlier sonatas with a more serious and mature style. …" @default.
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• W330711803 title "BEETHOVEN. Sonatas and Variations for Cello and Piano/BEETHOVEN. Cello Sonatas 1 & 3, Variations" @default.
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