Ludwig van BEETHOVEN (1770-1827)
Complete Works for Piano and Cello
Sonata for Cello and Piano No 1, in F major, Op 5, No 1 [23:37]
Sonata for Cello and Piano No 2, in G minor, Op 5, No 2 [25:24]
Sonata for Cello and Piano No 3, in A major, Op 69 [25:02]
Sonata for Cello and Piano No 4, in C major, Op 102, No 1 [14:36]
Sonata for Cello and Piano No 5, in D major, Op 102, No 2 [17:33]
Variations for Cello and Piano in G major on a theme from Handel's Judas Maccabeus, WoO 45 [12:59]
Variations for Cello and Piano in F major on Mozart's "Ein Mädchen
oder Weibchen", from Die Zauberflöte, Op 66 [9:18]
Variations for Cello and Piano on Mozart's "Bei Männern" from Die Zauberflöte, WoO 46 [9:22]
Margarita Höhenrieder (piano), Julius Berger (cello)
rec. 2018/19, Bietigheim-Bissingen Kronenzentrum, Germany
SOLO MUSICA SM338 [74:03 + 63:48]
While the veteran artists on this recording have been highly successful as soloists, each has been very active in the realm of chamber music as well. Both have collaborated in recital on many previous occasions, and Berger plays in the Duo Berger with his pianist wife Hyun-Jung. Here, Höhenrieder and Berger take on a challenge in the chamber domain where the competition is considerable both in number and talent, a circumstance that will no doubt prompt some to ask if we need yet another set of these works. But I always welcome new performances, even in well traversed repertory, as long as they have something substantive to say.
The first thing I noticed about this duo's playing was the clarity and balance of their instruments. Solo Musica provides them with very vivid sound reproduction, giving the listener a front-seat perspective, with the sound field favoring neither performer. The tone of Ms. Höhenrieder's piano is quite exquisite, yielding a fine legato sound throughout the register and rich but not overwhelming bass sonics. Julius Berger's Andrea Amati cello has a beautiful tone and from the opening moments of the First Sonata I only hoped the performances would match the splendid sound of the instruments. I wasn't let down.
The first two sonatas were written by Beethoven in 1796 and dedicated to Friedrich Wilhelm II of Prussia. It is thus not surprising that stylistically they are cut from the same cloth. They show the influence of Haydn and Mozart—not overly so though, and are clearly identifiable products of the young Beethoven. Moreover, the two sonatas are recognized as the first to allow the cello equal prominence with the piano. Additionally, both are cast in two movements with an extended Adagio Introduction opening each work. Also, Beethoven breaks with formal tradition here in eliminating the expected slow movement in both sonatas.
Höhenrieder and Berger do not make the mistake of seeking greater maturity and profundity than are in these early works, but they do tilt more toward a Romantic interpretive view than is currently customary: compared with typical classical approaches, their way with the music imparts a bit more weight to sonorities, less crisp attacks, somewhat more legato from the piano and an often brawny cello tone. That said, they don't take a radical interpretive stance, but in fact capture the spirit of these works quite effectively. Try the Rondo finale in the
First Sonata and listen to how ebullient the opening is, with well chosen dynamics, subtle accenting and bouncy rhythms. Notice too how the B-flat minor theme's wit and playfulness come across (1:43—2:27), owing greatly to the deftly accented swirl of the grace notes.
Hear their Second Sonata's weighty and intense first movement, which begins with an effectively dark Introduction (Adagio sostenuto ed espressivo). It then moves on to a conflicted Allegro main section, which mixes dire emotions and playfulness. Here the players add weight and adopt slower tempos than in their fairly brisk First Sonata. The finale in No 2 is also paced a bit expansively, and while some may favor more lightness and finesse, it has plenty of lift and elegance in their hands, though again one hears this interpretation as a somewhat Romantic take on the music. Both early sonatas come across quite convincingly then.
The Third Sonata, Op 69, is almost in a different world from the first two, coming from the time Beethoven produced his Fifth (Op 67) and Sixth (Op 68) symphonies. Indeed, and I must say that I hear this sonata mostly as an early example of Romanticism, though some might call it only a precursor to the movement. In any event, these performers again take a rather Romantic approach, which unsurprisingly works especially well here. Berger phrases the first movement's opening theme with great feeling, thanks to his deftly applied nuancing in dynamics and accenting. Höhenrieder plays with the same kind of sensitivity to the emotional flow of the music, and in the development section the two subtly work the music up to a stormy and passionate climax, the music then fading away sweetly to set up the reprise.
From the outset their bold manner with the Scherzo convinces you thoroughly: with a mixture of both muscular and dainty dynamics, they bring out the humor and mischief of the music most effectively. In the finale their playing effervesces with kinetic impulse and a subtle sense of nonchalance that infuse the mostly joyful demeanor with an utterly infectious character. Their exchanges are brought off with such a natural flow, a rather brilliant intuitive sense of give and take. This is one of their best performances in this impressive set.
Like the first two sonatas, the Fourth and Fifth share the same opus number and year of composition, in this case 1815. But unlike them and the Third Sonata, they are quite short works.
The Fourth consists of two movements and the Fifth three. Höhenrieder and Berger display the same virtues in these works as regards to their Romantic approach. Their second movement of the Fourth is brilliant: the Adagio introduction deftly builds tension in the first half from Berger's ominous, growling tone; the Allegro vivace effervesces as Höhenrieder imparts an especially cheerful character to the music in her subtle shifts in dynamics, and both players make the most of Beethoven's infectious and utterly joyous rhythms. A brilliant performance.
The Fifth Sonata is equally convincing in execution here: both players are ever tasteful in their tempo choices, dynamics, accenting and in maintaining a proper balance between their instruments. The first movement is an utter delight in its energy and sunny character. The ensuing panel opens most effectively here, Höhenrieder and Berger finding just the right tempo and dynamics to milk the sense of darkness and restlessness to achieve an imposing funereal atmosphere. They brilliantly contrast the lighter, hopeful middle section with it, while not quite dispelling the darker elements, owing to their hints of anxiety in the pacing. The finale is a delight, as the players capture the playfulness and mischief in the music: Höhenrieder's dynamics are subtle and the two have a masterly way with rhythms and accents.
As for comparisons in the sonatas, Argerich and Maisky on DG are very compelling: they are bold and dynamic, technically brilliant and subtle interpreters. Yet, I find myself listening a bit more to Argerich than to Maisky. With Höhenrieder and Berger there is a fine balance and always a tasteful, masterly interpretive approach. In the end, choosing between these two competing sets would be difficult: the performances by both duos are excellent, though the sound reproduction for Höhenrieder and Berger has the edge.
The three variations works included in this set are all very interesting, if not quite in the same artistic class of the last three sonatas. They are generally light in character and quite colorful, each demanding of their interpreters the ability to capture a variety of moods and styles. Höhenrieder and Berger consistently find a convincing interpretive path and are on target in pointing up the spirit of each theme and variation. They choose to play with a somewhat more classical approach, though they still don't completely abandon their “Romantic” way, as there are still beefy tones and a generally less lean style.
I've already mentioned the superior quality of the sound reproduction, but let me add that Julius Berger's album booklet essay on the music is very interesting and informative. I will always welcome such fine performances as these, and I can say Beethoven's many admirers as well as chamber music mavens certainly won't be let down by acquiring this fine release.
Robert Cummings
