Camillo SCHUMANN (1872-1946)
Sonata No.1 in G minor for Piano and Cello Op.59 (n.d) [21:40]
Konzertstücke Op. 20 (1901) [12:04]
Sonata No.2 in C minor for Piano and Cello Op.99 (1932) [29:11]
Maria Kliegel (cello); Francesco Piemontesi (piano)
rec. DRS, Zurich, 7-9 February 2009. DDD
NAXOS 8.572314 [63:07]
Camillo Schumann was the younger brother of the better-known Georg. In spite
of their name and profession, they were not related to the great Schumann,
but did have generations of musicians in their own family. Camillo held a
number of provincial posts in Germany and was a prominent organizer of and
participant in regional festivals. At the same time he composed over three
hundred pieces of music in almost all genres, specializing in chamber music,
of which we have several examples on this disc.
The works here cover the years 1901 to 1932. Earliest in date of composition
are the two Konzertstücke Op.20. The use of the word ‘Konzert”
implies substantial one-movement works rather than small-scale, less serious
pieces. This is especially true of the Romanze, which has an impressive main
theme, skilfully developed. The Mazurka partakes more of the salon, but is
still worthwhile. Both pieces, dating from Schumann’s 29th year, are
cast in a style that Brahms or Liszt would have recognized.
In the Cello Sonata No.1 we inhabit the same sound-world as that of the Konzertstücke,
although the Sonata was written approximately twenty years later. However,
this cannot disguise the fact that the work is mellifluous and well-constructed,
with beautiful themes that are imaginatively developed. The Andante movement
is especially moving and the last movement has a lot of charm.
The Cello Sonata No.2 is a more lyrical work than the first, but also strikes
a deeper, almost tragic note, especially in the opening allegro and the succeeding
slow movement. The scherzo is less impressive, but has a charming trio. I
found that the last movement disappointing after what had gone before.
Naxos regular Maria Kliegel again demonstrates her ability to get the maximum
emotional impact from a piece while not losing sight of formal concerns. The
young Francesco Piemontesi, also known for recordings of Robert Schumann,
provides thoughtful, if somewhat restrained accompaniment. Recording quality
is good, especially where the cello is concerned. In sum, a disc of worthwhile,
if not earth-shaking music, especially for the seeker of little-known 20th
century music.
William Kreindler
Little-known, but attractive music by a 20th century disciple of Brahms.