Johannes BRAHMS (1833-1897)
Cello Sonata No. 1 in E Minor, op. 38 (1862-5) [28:53]
Robert SCHUMANN (1810-1856)
Adagio and Allegro in A flat major, op. 70 (1849) [9:20]
Fünf Stücke im Volkston, op. 102 (1849) [18:50]
Fantasiestücke, op. 73 (1849) [11:13]
Nils Sylvest (cello), Mimi Birkelund (piano)
rec. November 2016, Mantzius Salen, Birkerød, Denmark
DANACORD DACOCD860 [68:32]
Robert Schumann is a composer whom I do not know well, yet virtually every piece of music I have heard by him, I appreciate and enjoy. This is especially so with his piano music and songs. It comes to the old story of not being able to listen to everything all the time.
The three Schumann works presented on this CD are a case in point. Over the past half century, I have heard each of these pieces on a few occasions, on the radio, in the recital room or on CD - but I do not really know them. My approach to most of this CD has been largely that of an ‘innocent ear’.
All three of these works for cello and piano were composed in 1849. Schumann had recently recovered from a nervous complaint which had made him tired and introverted and there was a huge increase in his musical activities. However, this expense of energy was also in danger of bringing its own problems. Turning to what was, for him, a new genre, Schumann began to compose music for piano and accompanying instrument. His first exercise in this genre was the Fantasiestücke, op. 73, originally for clarinet and piano, followed by the Adagio and Allegro in A flat major, op. 70 for horn and piano. Schumann indicated that these pieces could also be played by violin or cello.
I loved the Fantasiestücke. These short poetic miniatures, originally entitled ‘Soiréestücke’ (Night Pieces), take their inspiration from the German author of fantasy and Gothic horror, E.T.A. Hoffman and were apparently written over a couple of days. The artistic progress of these numbers is from darkness to light: light to dawn. Schumann’s revised title allows for the massive mood swings inherent in these pieces and their complexity is brilliantly captured in this performance.
Turning to the Adagio and Allegro in A flat major, op. 70, the opening ‘Adagio’ is characterised by affection and lyricism, but also displays some passion. The ‘Allegro’ contrasts horn-like hunting calls with a wonderfully soaring melody. The middle section is slightly slower and captures some of the magic of the opening ‘Adagio’ with this passionate new theme. Horn enthusiasts will insist that the cello does not catch the ‘hunting’ motifs as well as their instrument, but for me it works well.
The only piece extant piece envisaged for cello and piano was the Fünf Stücke im Volkston, op. 102 (1849). These are clearly written in a ‘light’ style and present no problems to the listener. The opening piece is entitled ‘Vanitas Vanitatem’ (All is Vanity) and is played with humour - or is it tongue in cheek? The mood changes with a well-judged and quite lovely lullaby. The liner notes point out that the third piece nods towards ‘Ich hab’ im traum geweinet’ (In a dream I wept) from Schumann’s vocal masterpiece, Dichterliebe. The mood of sadness is swept away in the triumphant fourth piece. Finally, the mood darkens again in the finale. The soloists are called upon to present a wide range of moods in these five pieces. In some ways these could be imagining ‘Fairy Tales’, with the last movement featuring an ogre conjured out of the pages of the Brothers Grimm.
Robert Schumann’s only other work featuring cello solo is the great Concerto in A minor, op.129 in 1850, the composer’s last completed work before his death in 1856. Sadly, Clara Schumann burnt Five Romances for cello and piano, as she felt that they were indicative of his madness.
One of the standard criticisms of Johannes Brahms’ Cello Sonata No.1 in E minor, op.38 is its eclecticism. Bach and Beethoven may have provided inspiration for this music; there are quotations from Bach’s Art of the Fugue (in the first and last movements), and musicologists have noted an allusion in the second movement towards the ‘scherzo’ in Beethoven’s Cello Sonata in A major, op.69. Brahms commenced work on the Cello Sonata No.1 in 1862; however, the edition we have today is considerably different, as in 1865, Brahms added a new finale, having previously removed the adagio. Nils Sylvest, cello and Mimi Birkelund, piano, give a compelling account of this work. The secret of interpreting this work is to provide an effective balance between the powerful outer movements and the impish minuet and trio and that is well achieved here.
As far as I could see, the author of the liner notes is not credited. They are succinct and helpful in introducing these four works. There are several photographs of the performers, both ‘action shots’ and portraits. I found the cover rather insipid with text that hardly stands out. The usual CVs of the two performers are included. The text is printed in English, German, and Danish. The sound quality is ideal.
On one point, I am not sure why such a fuss is made of Nils Sylvest being a Danish left-handed cellist, which is pointed out in the advertising blurb I received with the CD. I am not convinced it matters, except when he is playing in an orchestra or ensemble and gets in the way of other players! It certainly makes no difference to the superb quality of his performance. Equally exciting is Mimi Birkelund’s pianism, which adds so much value to these pieces. Each one demands a solid musical partnership rather than a mere accompaniment.
This is a splendid recording that introduced to - reminded me of? - three excellent chamber works by Robert Schumann and an ‘old favourite’ from Brahms. It is a worthy addition to the record libraries of enthusiasts of these two Romantic composers and of cello aficionados in general.
John France
