Ludwig van BEETHOVEN (1770-1827)
Cello Sonata in C major, Op.102 No.1 (1815) [14:20]
Cello Sonata in D major, Op.102 No.2 (1815) [18:05]
Six Bagatelles, Op.126 (1824) [18:16]
Cello Sonata in A major, Op.69 (1808) [26:58]
Zivian-Tomkins Duo (Tanya Tomkins (cello), Eric Zivian (fortepiano))
rec. June 2008, Deventer, Holland
BRIDGE 9305 [77:47]
The three last cello sonatas and the set of Bagatelles Op.126 are played
on authentic period instruments. This works really well for the sonatas -
once you adjust to the sound. The rough excitement of the fortepiano and the
raw, down-to-earth voice of the Classical cello both suit very well the ardent
character of the sonatas.
First comes the Fourth, Op.102 No.1. It has a non-standard structure,
as happened so often with late Beethoven. It can be described as slow-fast-slow-fast
- or just as two movements, each with a slow introduction. The fortepiano
is softer than the modern piano, which changes the entire balance. On one
hand, most of the music is now dominated by the cello. On the other hand,
small cello gestures and comments are not lost behind the wall of piano sound,
and can be carried off without unnecessary pressure. This makes the entire
"conversation" of the two instruments more natural and relaxed.
The tempi are fast, yet do not sound hurried. The playing is very well articulated.
The overall mood is energetic and jovial. The cello sometimes sounds strained
in the highest notes, as if a human bass voice tried to sing soprano. But
the lower region has a wonderful growling resonance.
It all continues to the Fifth Sonata, Op.102 No.2. Its structure is
more conventional, but the contents are inimitable late Beethoven. The cello
of Tanya Tomkins is wonderfully versatile in the opening Allegro, switching
between heroic gestures, lyrical musings and happy buzzing. The haunting slow
movement is probably the most beautiful ever written for this combination.
When moving from modern to period instruments, it loses its ethereal charm,
but gains in directness and sincerity. At some points the fortepiano sounds
"stumbling", as in the end of development section, and also right before the
coda. This leads to lack of depth. Overall, this is quite a different experience
from hearing a modern version: more shallow, with fewer aural effects. But
also without schmaltz, which is good. The finale is a Baroque fugue, and all
the voices are crystal clear. The performers play with swing and panache,
and the movement ends way too soon!
After that we say goodbye to the cello for a while, and Eric Zivian plays
solo.
If, when listening to the Op.126 Bagatelles, you do not enter awe and trance,
then something must be wrong with the performance. This music is from the
same celestial level as the late piano sonatas, especially the Op.109 and
Op.110. Maybe that's the best way it can be played on a period instrument,
I don't know - this seems to be the only version available. But the difference
between what you get and what you can get is enormous. There are nice
discoveries, certainly: No.2 has a harpsichord ringing, and No.4 changes its
character under the new sonorities: the first section is jumpy and grumpy,
while the second section brings in the voice of a bagpipe! But No.3 becomes
too plain, and No.6 turns into a kind of slowish ländler. I consider
this performance of Bagatelles a failed experiment. One might argue
that Beethoven meant them to be "trifles", and that we shouldn't put into
Heaven what belongs to Earth. Maybe. But I prefer my Bagatelles in
Heaven.
All ends well, as the disc is closed by the great Third cello sonata,
Op.69 - the Kreutzer of the cello, one of the works one could use to
illustrate what Beethoven was about. This is glorious music, and the performance
does it full justice, with a precise coordination between instruments, and
inextinguishable drive. The voice of the cello is full and truly remarkable,
especially in the low register. This is great cello playing, with emotions
that are shown through the music, not through artificial effects. The piano
is very attentive and cooperative. When the instruments play different motifs
simultaneously, which happens often in the first movement, no one gets eclipsed
by the other, and the musical texture is very clear - this is also due to
the lighter sound of the fortepiano. The scherzo has a lot of imaginative
dynamic nuances. The tiny Adagio is relaxed and good-natured. The finale
is virtuosic and exuberant, but not rushed, and the coda is powerful and ecstatic.
I still think that nobody brings out the joy and the fun of this sonata as
do Yo-Yo Ma and Emmanuel Ax on their CBS recording, but the Zivian-Tomkins
Duo offers a very valuable alternative.
The recording quality is excellent, the sound is rich and has a lot of volume.
The insert notes are well written and informative, with extensive descriptions
of the works and of the performers. As a whole, this disc can bring a lot
of fun, good humor, and real enjoyment from excellent playing. But I would
skip the Bagatelles.
Oleg Ledeniov