Ludwig van BEETHOVEN (1770-1827)
Complete music for cello and piano
Twelve Variations on a Theme from Handel’s Oratorio “Judas Maccabeus”
WoO 45 [11:53]; Twelve Variations on the theme “Ein mädchen oder
weibchen” from Mozart’s Opera “The Magic Flute” Op.
66 [9:46]; Seven Variations on the theme “Bei mannern welch liebe fühlen”
from Mozart’s opera “The Magic Flute” WoO 46 [9:35]; Sonata
in F major Op. 5 No. 1 [20:39]; Sonata in G minor Op. 5 No. 2 [22:41]; Sonata
in A major Op. 69 [26:24]; Sonata in C major Op. 102 No. 1 [15:03]; Sonata
in D major Op. 102 No. 2 [19:17]
DVD - Behind the Beethoven Project [50:58]
Laurence Lesser (cello); HaeSun Paik (piano)
rec. Jordan Hall, New England Conservatory of Music, Boston, MA, 5-9 January
2009 (CDs) and Kumbo Art Hall, Seoul, Korea, 19-20 February 2009 (DVD)
DVD - 16:9 aspect; Regions not stated
BRIDGE 9329A/C [CDs: 75:12 + 61:03 & DVD: 50:58]
Beethoven’s music for cello and piano fits neatly onto two CDs, and
choice amongst the many distinguished artists who have recorded them is already
absurdly difficult. This new version by Lawrence Lesser and HaeSun Paik was
nonetheless a task well worth undertaking and the results are very impressive
and enjoyable. I hope that they will have the success they deserve.
Lawrence Lesser may not be a household name on the UK side of the Atlantic.
He has however had a long and distinguished career as a cellist. This has
included taking part in the Heifetz/Piatigorsky concerts and making the first
recording of the Schoenberg Concerto, as a teacher, and as an administrator
at the New England Conservatory. HaeSun Paik was a prizewinner in the Leeds
Piano Competition in 1989. The present recordings were conceived as a form
of 70th birthday celebration by Lawrence Lesser, who explains in
the booklet notes that he has known these works since he was 10. It is clear
that they have lost none of their fascination for him, and also that he knows
them and has thought about them in immense detail. These are above all performances
that follow unerringly every changing aspect of the character of the music.
They are not showy - necessarily at times they do display the techniques of
both players but there is never any sense that this is display for its own
sake or that they are exaggerating or distorting any aspect of the music.
These are quite simply performances in which the players allow the music to
speak for itself. Given that these are amongst Beethoven’s greatest
works the result is inevitably engrossing and immensely impressive. The composer
was virtually inventing here a genre of works in which piano and cello are
equal partners, and whose formal arrangement of movements varies from Sonata
to Sonata rather than following a set pattern.
Not only do the performers on these discs show a perfect understanding of
the music, but they also play with unfailingly beautiful tone. Despite the
inherent differences between the instruments they match their respective articulation
and phrasing so well that one is never bothered by any apparent incompatibility
between the instruments, as can be the case with cello and piano. On the contrary,
one is conscious simply of a creative musical conversation between two fine
musicians. In this they are aided by a clear and well balanced recording and
an excellent booklet essay by Malcolm MacDonald. Most but not all repeats
are taken.
The DVD includes live performances of several movements from the Sonatas during
later concerts in South Korea, as well as interviews in which the music, the
players and the cello are discussed. Although you might not want to see this
more than once it is presented in an interesting way. One minor point that
struck me is that the players never look at each other, or indeed at the audience
either, during the performances. Indeed the cellist would have to turn right
round to do so. All communication is through the sound alone and their unobtrusive
platform manner is a lesson to many better known and more fidgety players.
I would not suggest that this set could or should replace the many classic
versions of these works, including those by Casals, Rostropovich, Fournier
or whoever is your particular favourite, and clearly it is not comparable
with more recent historically informed performances. It is nonetheless immensely
satisfying and enjoyable, and worth hearing for its sheer musicianship and
obvious devotion to the music itself. If you have room for more than one recording
of these works you should certainly consider adding this to your collection.
John Sheppard
Immensely satisfying and enjoyable, and worth hearing for its sheer musicianship
and obvious devotion to the music itself.