Ludwig van BEETHOVEN (1770-1827)
Sonata for piano and violoncello in E flat major, op.64 (1794/1807) [42:16]
Works for mandolin and piano
Sonatine WoO 43a: Adagio [5:50]
Adagio ma non troppo WoO 43b [8:10]
Sonatine WoO 44a: Allegro [2:26]
Andante con variazioni WoO 44b [9:39]
Julius Berger (cello)
José Gallardo (piano)
rec. 12-14 March 2010, Konzertsaal der Universität Augsburg
CHALLENGE CLASSICS CC72504 [68:31]
Beethoven’s Sonata for piano and violoncello in E flat major, op.64
is an arrangement of his String Trio Op.3, probably by one Fr. X Kleinheinz.
Arguments have gone on as to the provenance of this arrangement, but Julius
Berger is clear in his booklet notes on the piece: ‘Based on my in-depth research
and the many clues – which can be elucidated here only in part – I concur
with Harro Schmidt, the editor of the sheet music publication by Schott Music
Mainz (1984). In his preface he writes: “Contrary to all the traditional timidity
in attribution and doubts about authenticity passed on to us by musicologists
– Riemann, Hess and Kinsky, for example – I regard it as proven that we have
here an arrangement that was created and published under the composer’s own
eyes in BEETHOVEN’S IMMEDIATE SPHERE OF INFLUENCE.”’
Whatever the origins and circumstances of the arrangement, it is of the highest
quality, and in the hands of Julius Berger and José Gallardo goes beyond mere
charm and becomes a piece of considerable substance. There are the lighter
Andante and Menuetto movements, but nothing is taken for granted
by these players, and every expressive and dramatic point is made with eloquent
and empathetic emphasis. The acoustic of the Konzertsaal der Universität Augsburg
is rich and resonant, but this suits Beethoven’s micro cadences and little
pointillist touches very well indeed. The cello and piano are beautifully
balanced, and their interaction in this expert arrangement is exploited to
the full, the thematic character of the music not overplayed, and the frequent
accompanying function of the cello placed with the utmost sensitivity. The
positively symphonic Allegro con brio first movement and admirably
restrained central Adagio are done superbly, and the proportions of
the piece are like wandering around in a space filled with reassuring golden-section
architectural design.
The expressive power of the cello and piano in parts of Beethoven’s mandolin
Sonatine Op.43 makes it hard to imagine the music played in its original
instrumentation. There is a good version of this which does however prove
the point on the Arts label, performed by Diego Fasolis and Duilio Galfetti.
This is done with a period fortepiano, and shows how the resonance of a decently
sized mandolin works extremely well in this combination. The booklet notes
mention earlier arrangements for cello and piano of the music, which was written
around 1796 by Beethoven for mandolin-playing Countess Josephine von Clary-Aldringen
of Prague. Stephen Isserlis has already made versions for cello and piano,
and Julius Berger has made his own arrangements of the four pieces on this
CD. Described as “Beethoven at his most elegant”, these are indeed works of
melodic charm and a good deal of expressive soulfulness. The busy Allegro
is great fun, and the Andante con variazioni is noble and stately
and full of little surprises, but I think listeners may be most surprised
at the gems to be discovered in the two Adagio movements which are
stunningly gorgeous.
My only slight niggle with this CD is its title. The Op.64 sonata is by no
means entirely unknown, and there are nice recordings to be found in a few
‘complete’ collections. The Finlandia label has a period recording with fortepiano
played by Tuija Hakkila and cellist Anssi Karttunen which is very well produced
and performed, and there is a nice budget modern instrument version on the
Naxos label with cellist Maria Kliegel and pianist Nina Tichman (see reviews
here
and here).
This is a little less succulent than the Challenge Classics label recording,
but still a very respectable option. There is also an argument to be made
that the musicians may at times have dug a little deeper and been a tad less
precious with Beethoven’s notes, but I’ve greatly relished the refinement
in both recording and performance of these works and know this is a disc which
will provide real enjoyment for many years to come.
Dominy Clements
Guaranteed to provide long-term enjoyment.