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WEBER, BRAHMS, BEETHOVEN, Gregor Piatigorsky, Solomon, Arthur Rubinstein

Cello Sonatas 1-5 / Cello Sonata 1

  • 1. Sonata for cello & piano No. 1 in F major, Op. 5/1 1. Adagio sostenuto
  • 2. Sonata for cello & piano No. 1 in F major, Op. 5/1 Allegro - Adagio - Presto - Tempo 1
  • 3. Sonata for cello & piano No. 1 in F major, Op. 5/1 2. Allegro vivace
  • 4. Sonata for cello & piano No. 2 in G minor, Op. 5/2 1. Adagio sostenuto ed espressivo
  • 5. Sonata for cello & piano No. 2 in G minor, Op. 5/2 2. Allegro molto, più tosto presto
  • 6. Sonata for cello & piano No. 2 in G minor, Op. 5/2 3. Rondo (Allegro)
  • 7. Sonata for cello & piano No. 3 in A major, Op. 69
  • 8. Sonata for cello & piano No. 4 in C major, Op. 102/1
  • 9. Sonata for cello & piano No. 5 in D major, Op. 102/2
  • 10. Sonata for Cello & Piano No. 1 in E minor, Op. 38
  • 11. Sonata for piano & violin obbligato No. 5 in A major, J. 103 (Op. 10b/5)
  • 12. Adagio and Rondo for cello & piano (arranged by Piatigorsky)
  • Gregor Piatigorsky - cello
  • Solomon - piano
  • Arthur Rubinstein - piano
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89.00 PLN

2 CD:

Nr kat.: SBT2158
Label  : Testament (UK)

The sound for Piatigorsky and Solomon's 1954 Beethoven sonata recordings is more focused and better defined than ever before. You can hear all sorts of coloristic nuances and dynamic shading that were masked on LP, such as the pianist's haunting, almost disembodied trills in the Fifth sonata's slow movement. Such revelations add substance and spiritual weight to the protagonists' suave, Apollonian decorum. Both players dovetail each other and melt into each other's sonorities with a kind of elegant nonchalance that contrasts to the more overtly dramatic Rostropovich/Richter or Fournier/Schnabel traversals. On the other hand, Piatigorsky and Rubinstein bring more spontaneity and freedom to their 1936 Brahms E minor sonata than their stricter RCA remake from 30 years later. Testament's transfer filters out some of the roughage retained in RCA's unvarnished yet brighter remastering for the Complete Rubinstein Edition. Lastly, the Weber selections sing out with controlled generosity of tone, putting an eloquent cap on a valuable reissue. [9/29/1999] (Jed Distler) Two splendid discs, three fascinating partnerships. In the Beethoven, the great Russian romanticist is clearly influenced by the great English classicist Solomon. Their playing is austere, simple, elegantly phrased, expansive, with wonderfully sustained slow movements, great rhythmic poise, and flexibility and contrast of mood, character, and expression. They bring out the wit, charm, graciousness, youthful exuberance as well as the pleading, questioning urgency of Op. 5, the sublimity and drama of Op. 69, and the inwardness, tragedy and grandeur of Op. 102. In the Brahms, Piatigorsky and Rubinstein are soul mates in style, rhythmic freedom, and spontaneous expressiveness, from austere introspection, pensive wistfulness, and serene resignation to ardor, passion, and unbridled impetuosity. With Ivor Newton, three Weber pieces, transcribed by Piatigorsky from the violin sonatas, are charming and brilliantly effective. Despite the recording's age, the sound is excellent throughout. (Edith Eisler)