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
Julius Berger (cello) 
