Op 69

[Todd]

I freely admit that I listen to Beethoven's Cello Sonatas less frequently that I listen to his piano sonatas or violin sonatas, but I do rather fancy them, and I have managed to build a decent collection.  I've never really identified a favorite work, though I couldn't help but notice that I commonly end up whistling the main theme from the Allegro vivace whenever I listen to Op 69, so I settled on comparing and contrasting that work, just because.  Since I have so far been unable to track down a copy of the recording by Sung Won Yang and Pascal Devoyon, I will sadly have to dream of what that recording is like in proper playback and instead focus on the recordings I do possess proper resolution copies of (ie, red book minimum). 




I decided to start off with Pablo Casals and Rudolf Serkin.  The slow opening of the Allegro ma non tanto is taken at a nice tempo and mixes early and middle LvB sound nicely.  Casals generally sounds nice in the slower, longer cello stretches, but in the faster passages, he doesn't sound quite as sure, and Serkin definitely ends up holding things together with rock-solid playing, which becomes even more evident when the piano plays solo.  In the Scherzo, Serkin, though more distantly miked, sets the pace and sounds more incisive, though Casals whacks out some nice, short bow strokes.  There's nice verve and nice use of pauses.  In the final movement, Casals plays affectingly in the Adagio cantabile, and as things pep up in the Allegro vivace, things sounds light, playful, and fun, though again Serkin holds things together better.  Overall, this is a nice enough version, but it's one to respect, not love.

[Todd]

Enrico Dindo opens the Allegro with bold, rich, vibrato-laden playing that pops.  The SOTA sound delights, something reinforced when Pietro de Maria arrives, his gorgeous tone and even playing sounding perhaps too beautiful.  (Nah.)  His runs sound just splendid, a treat within a treat.  The duo team up nicely, and playing with some storminess, and Dindo tips the playing toward the romantic end of the spectrum without going overboard.  In the Scherzo, Dindo and de Maria match up nicely, Dindo's control and accuracy more pleasing to hear than Casals', and de Maria keeps up, jumping to the fore with some sharp but still pleasing sforzandi, and the whole movement is dispatched with nice vigor.  In the final movement, the duo start off with restrained and lovely playing, but it's in the Allegro vivace that they really deliver, matching each other as they zip through the music with real elan and paired virtuosity, compelling the listener to head bop and silently whistle along.  Overall, a marked step up from the first recording.

[Todd]

Miklós Perényi and András Schiff.  To the extent I had a reference cycle, this is it.  More distantly recorded, the recording really ends up highlighting dynamic contrasts nicely.  In the opening of the Allegro, Perényi plays with nice tension and less dramatic contrasts than Dindo, and Schiff plays almost as beautifully as de Maria.  One doesn't really think of Schiff as a powerhouse pianist, yet when the playing gets going, he plays with no little heft, and just past midway, the duo generate real (refined) heat, reminding the listener that this work is from the peak middle years.  But they also back off, and both demonstrate a more sensitive touch, too.  The Scherzo has some snap to it, but the more distant microphones, while adding dynamic impact, results in a bit less immediacy than in Dindo/de Maria.  The same holds true to an extent in the Allegro vivace of the last movement, but the duo play with such verve, and Perényi's playing is so effortless and gliding in places, that pretty much any complaint is piffle.  Even after almost two decades, this set holds up. 

[Todd]

Slava and Richter.  Titans playing titanic chamber music.  One has certain expectations.  Expectations are sometimes met.  In the Allegro ma non tanto, Slava starts with a slow opener with some pronounced vibrato, and then when Richter enters, it seems like a strangely perfect blend, with Slava a bit bolder and more fiery, but as the players ramp up speed and volume, the work takes on heroic proportions and weight.  True, Slava's tone is a bit nasal in middle registers from time to time, but other than that, there's nothing much to complain about.  The Scherzo starts off with the duo backing off a bit in volume, but the sharpness and coordination of the attacks works very well indeed.  The forte passages have real drive and bite, but here Slava's tone detracts a bit.  The final movement starts off with Richter doing slow and controlled as better than almost anyone, and Slava joins him.  Again, the tone.  The Allegro vivace has energy and verve and drive, but once again the cello sound doesn't match the other qualities of the playing.  Overall, an historical recording of interest, but not a favorite.

[Todd]

Paul Tortelier and Eric Heidsieck.  French Beethoven.  Love me properly Frenchified Beethoven chamber music.  It ain't no secret, and this set is a prime example of Gallic goodness.  Classical in mien, crisp, quick, energetic, with the musicians often taking turns sharing the spotlight.  Tortelier's tone is more to my liking, his control exemplary, and the great Eric Heidsieck plays with a nice staccato touch, varying dynamics nicely, and both sort of lend an air of freedom to the playing.  It sounds almost spontaneous.  The improved sonics make the broad dynamic swings more appealing, though the flow seems less smooth than, say, Perényi/Schiff in the Allegro ma non tanto.  The Scherzo, though, is snappier, more vibrant, more energized.  It rocks.  The final movement starts with an Adagio cantabile that sounds quite taut, and though lyrical, it could be said to be rushed or not deep enough.  The Allegro vivace is quick, alert, and playful.  It is serious music played seriously - but not too much so.  It brings a smile to the listener's face.  Extremely good stuff. 

[Todd]

Bylsma and Immerseel.  The first of two period instrument sets.  Bylsma opens the Allegro ma nan tanto with a tonally alluring sound - not too heavy, and definitely not too light - and with both a lyrical sense and exemplary control.  Immerseel's keyboard doesn't tickle my fancy.  It reminds me why I am not a big fortepiano fan.  The whole first movement has decent energy and swing, and Bylsma, in particular, grabs one's ear.  The Scherzo points up the shortcomings of the fortepiano again.  Immerseel plays with decent attack, it just sounds a but wimpy.  Bylsma satisfies more, and the rhythmic component is there.  The Adagio cantabile again benefits most from the cello playing, though in the Allegro vivace, the lightness of the keyboard ends up less of a liability.  The movement sounds suitably brisk and fun.  Overall, not bad, but not a favorite, and a reminder of why I have never and will never turn to period performances first.

[Florestan]

I couldn't help but notice that I commonly end up whistling the main theme from the Allegro vivace whenever I listen to Op 69 of the Op. 5 / 1 time and again without ever listening to an actual performance of it.

Fixed.

I have never and will never turn to period performances first.

Ditto for any composer, not only Beethoven.

[Todd]

Or will I?  Nicolas Altstaedt and Alexander Lonquich.  The second of two period instrument sets.  With a twist.  While both artists use period instruments, they don't bother to adopt HIP tics so much.  That, plus the fact that Lonquich is a unique and truly brilliant pianist helps matters.  Altstaedt opens the Allegro ma nan tanto with tight playing, and then Lonquich enters with a period instrument that sounds compelling.  Lonquich uses comparatively broad dynamics, including nuanced playing in the piano area, and as per usual, his rubato is noticeable but perfectly suited to the music.  The two musicians sort of go their own ways for a while, and then intersect fantastically.  They also share the limelight splendidly, ceding to each other in a seamless fashion, and when Altstaedt lays on the lyrical playing, it stands out.  As the duo crank out the loudest, most robust playing, they approach what Perényi and Schiff achieve.  Nice.  The Scherzo lacks a bit of bite, but instead takes on a sort of ramped up dance feel, with Lonquich's touch especially ear-catching.  Very nice.  The Adagio cantabile revisits the feel on the opening moments of the work, and then the Allegro vivace is quick and alert, with both players exhibiting no little virtuosity.  Again, the way they move back and forth between taking center stage is really quite striking.  It's nearly a wonderfully musical race to the end, with only minor slow-downs, yet it never sounds rushed.  Very, very nice.  A much better period instrument version, and a high-end one overall.

[Todd]

Mischa and Martha.  Maisky can be prone to excess in his playing, but when paired with Argerich, that's a good thing.  The recorded balance favors Argerich, and the dynamic range is startlingly wide.  There's plenty of effective interplay between the two, and each hands off to the other, and Maisky generates a rich tone and romantic vibe, while Argerich's runs sparkle in the Allegro ma non tanto, and more impressive yet, her pianissimo playing before the coda is simply breathtaking.  Argerich's bold start to the Scherzo, and Maisky's impishly tentative one, magnifies the fun and humor, and the boogie factor is pretty snazzy.  In the Adagio cantabile, Maisky makes his cello sing more beautifully than any version to this point, with Argerich ceding the limelight, and then in the Allegro vivace, they both just zip right along, generating energy and fun, and both artists' ease of delivery makes the performance something a cut above.  Superb.

[Todd]

Jacqueline du Pré and Daniel Barenboim.  Ms du Pré opens with a singing tone with attractive vibrato, and Danny Boy jumps in with plenty of verve.  The live recording betrays itself, which is fine, and Barenboim doesn't always hog the limelight even when it's his turn.  The Scherzo comes off a bit slow and stiff compared to others, and du Pré doesn't navigate some passages as cleanly as other cellists, though things improve a bit as the movement progresses.  The Adagio cantabile sounds fairly nice, but du Pré's tone is a bit thin, while the Allegro vivace peps things up, with Barenboim's playing the attraction.  Overall, so-so.

[Todd]

Mario Brunello and Andrea Lucchesini.  Brunello opens the Allegro ma nan tanto with a dark, rich sound, and Lucchesini enters gently, with a finely honed touch.  The duo take their time at 13'54" in the opener, which allows Brunello, especially to draw out some of his playing, and he makes the upper registers sing.  Lucchesini offers perfectly judged support, never pushing or rushing.  This is more about the cellist.  The slow tempo does mean that the sonata has notably less energy than other versions, but it also ends up being more lyrical and romantic.  The Scherzo is a bit broad in tempo, but the dynamic contrasts are bold, and the rhythmic swagger is there.  The Adagio cantabile is also slow, and meltingly beautiful, while the Allegro vivace has ample pep and energy, while still singing.  Very nice, if not a top choice.

[staxomega]

Paul Tortelier and Eric Heidsieck.  French Beethoven.  Love me properly Frenchified Beethoven chamber music.  It ain't no secret, and this set is a prime example of Gallic goodness.  Classical in mien, crisp, quick, energetic, with the musicians often taking turns sharing the spotlight.  Tortelier's tone is more to my liking, his control exemplary, and the great Eric Heidsieck plays with a nice staccato touch, varying dynamics nicely, and both sort of lend an air of freedom to the playing.  It sounds almost spontaneous.  The improved sonics make the broad dynamic swings more appealing, though the flow seems less smooth than, say, Perényi/Schiff in the Allegro ma non tanto.  The Scherzo, though, is snappier, more vibrant, more energized.  It rocks.  The final movement starts with an Adagio cantabile that sounds quite taut, and though lyrical, it could be said to be rushed or not deep enough.  The Allegro vivace is quick, alert, and playful.  It is serious music played seriously - but not too much so.  It brings a smile to the listener's face.  Extremely good stuff.

I'm glad that Heidsieck EMI/Erato box is coming out so I can finally hear these.

Ditto for any composer, not only Beethoven.

Same here as well.

[Todd]

Gautier Capuçon and Frank Braley.  More French goodness.  Capuçon opens with a rich, singing tone and Braley enters with clean, brisk playing.  The recorded balance generally favors the cello, which is fine.  The players alternate the spotlight seamlessly and create a lyrical, somewhat light overall feel.  As the Allegro ma non tanto continues, it becomes more dramatic and even more lyrical, though it still maintains a bit of reserve.  The Scherzo darkens the lyricism, but it sounds smoother than other takes, and takes on a fun sort of perpetuum mobile feel, with Braley's pianism especially effective at creating a sense of forward momentum.  The Adagio cantabile sounds quite lovely, with Braley's arpeggios offering a hazy underpinning for Capuçon's playing, and then the duo ratchet things up quite nicely in the Allegro vivace.  The contrast between the instruments is especially fine here.  Superb.

[Todd]

Li-Wen Qin and Albert Tiu.  Qin opens the Allegro ma non tanto with a dark, rich, singing tone and Tiu answers with something lighter and brighter.  Qin continues to play with a rich tone and assumes a leisurely overall sound.  His phrases breathe, and Tiu is given some room for maneuver.  The movement eventually starts to sound a bit too languid for maximum satisfaction, but then things pick up in the Scherzo, which has a bouncy rhythm, and Tiu's attack has a perfect amount of edge to accompany the bright tone.  The Adagio cantabile starts with lovely playing from Qin, but Tiu comes subtly to the fore, and then in the Allegro vivace Tiu leads, with tight, snappy playing and Qin sort of follows, belting out tunes in a dreamy way, only eventually catching up.  The effect is quite nice, and the remaining music sounds light-hearted and flowing and joyful.  I swear, it sounds like the musicians are having fun.

[Todd]

Maria Kliegel and Nina Tichman.  Kliegel launches the work with a full, fully controlled tone, and Tichman enters with a nice lightness of touch.  Kliegel's upper register work lacks the sweetness and purity of some other versions, but it sounds swell nonetheless.  She also makes her instrument sing in a far more than satisfactory manner.  Tichman pairs nicely but often seems to recede into the background a bit.  The Scherzo sounds plucky (and no, that is not in reference to inappropriate pizzicatti).  Kliegel slashes away effectively in some passages, and Tichman ups her game a bit.  Nice.  Kliegel ups her singing approach in the Adagio cantabile, and then the due deliver a peppy Allegro vivace closer.  The pair keep things fairly light and always move things forward. 

[Todd]

Lynn Harrell and Vladimir Ashkenazy.  Harrell opens dark, rich, and sure, with a singing sound and hefty vibrato.  Ashkenazy enters as he has to, by which I mean he supports Harrell and plays with perfect dynamic contrasts, matching tempo, and a neutral demeanor.  As the duo pick up the pace a bit in the lengthy Allegro ma non tanto, they make just about the most of the staccato piano and cello pizzacati, with Harrell's sound almost impossible weighty and controlled.  (One senses Decca engineers intervening, to the benefit of the listener.)  When Harrell plays the higher registers, his technical security impresses.  The duo plays the Scherzo extremely quickly overall, offering not just stylistic contrast, but also a major tempo contrast. They play the dickens out of it, with comparatively large scale, perfectly timed and judged attacks, and a nice forward momentum, and of course Ashkenazy is in his element dashing off the music with ease.  The Adagio cantabile is predictably well played, but it's not quite as beautiful as some other versions.  The Allegro vivace is fast, spry, and energetic while also sounding somewhat hefty.  A nice combo of traits.  A nice version.

[Todd]

Heinrich Schiff and Christian Zacharias.  I listened to this disc with mixed feelings because it is always good to hear Zacharias in Beethoven, but it is disheartening because he has obviously committed crimes against humanity by recording far too little Beethoven.  The Allegro ma non tanto starts with Schiff firmly delivering some tuneful playing, with Zacharias delivering something even more fluid and tuneful to follow.  The duo then move through the rest of the movement with fluidity and spontaneity, and the recording, if not SOTA, is one of those wonderful live recordings that allows one to gain a full appreciation of the dynamic range that two instruments can generate.  Of course Zacharias can move up and down in volume at will, but perhaps even more impressively - make that definitely more impressively - Schiff can play high up on the neck with great precision, then bellow out a big, fat tone with perfect control.  Unlike with Harrell (and then only possibly), there is no chance of engineers twiddling at the control desk to enhance the sound.  The duo move along, back and forth, up and down in perfect harmony.  The Scherzo has plenty of bitey sforzandi but also a slightly relaxed tempo, all the better to enjoy the back and forth.  The Adagio cantabile boasts some lovely playing culminating in Schiff tapering off to nothing before the duo zip along in the Allegro vivace with a lightness of touch combined with just enough weight.  It's quite splendid, though ultimately it just demonstrates how bad Zacharias is for not recording enough Beethoven.

[Todd]

François Salque and Eric le Sage.  Salque opens with a tight, nasal sound in the Allegro ma non tanto, and le Sage plays with a crisp, quick, alert style.  (And man, do I dig his trills.)  Salque never generates a big, bold tone as recorded here, but he does play with passion.  The pianist demonstrates again that he shines in Beethoven more than in other repertoire, at least to my ears.  The Scherzo shines.  Brisk, energetic, forward moving, and benefiting from le Sage's steady pulse and clean fingerwork, it sounds swell.  The Adagio cantabile sounds fairly taut, with Salque's playing sounding ligther, but then in the Allegro vivace it's off to the races.  Mr le Sage lays the foundation and takes the lead much of the time, with strikingly nimble playing.  There's much to enjoy in the closing movement, even if the overall sonata is so-so.  Hearing this does make me hope that le Sage records some early and middle sonatas, at least.  Opp 2/3, 10/3, 22, 28, 31/1, 31/3, and 53, please, sir.  Sound for this set is odd.  Modern and hi-res, the live recording is fairly clean and mostly clear, but the soundstage is uncommonly narrow and small, and dynamics are rather limited. 

[Todd]

János Starker and Rudolf Buchbinder.  Starker starts off things with a midrange rich sound of no little attractiveness, though some others have delivered tighter playing.  Reliable Rudolf doesn't fade to the background, but this is more about the cellist.  The two trade off well, with some of the passages where they copy each other quite good.  The pacing is just a tad broad, but it is engaging, but the omission of the repeat perplexes the listener a bit.  The Scherzo sounds a bit heavy and laborious, but Buchbinder does generate a nice rumbly accompaniment effect in places.  The Adagio cantabile ends up the best thing in the recording, with a romantic feel imparted by Starker, along with and partly because of his hefty vibrato.  The Allegro vivace is quite energetic, but Buchbinder takes the lead and sometimes outpaces the cellist.  Overall, a nice enough versions to sit back, relax, and just listen to.

[Todd]

 

Anne Gastinel and FFG.  Gastinel launches the Allegro ma non tanto with a tight, medium sound that fairly sings, and FFG enters with sparkle and what I swear sounds like a sense of seriousness sprinkled with prankishness.  His tone is fine, his style fluctuating between staccato and legato seamlessly as the music demands.  Gastinel sounds more poised and her playing is magnificently fluid and pristine, if not particularly weighty.  The duo work together as well as any to this point, and whenever called for, they can ramp up the playing to high excitement levels, or back off to something more contemplative.  The Scherzo has a near perfect level of energy, snazzy dynamic contrasts, and a just right level of refinement.  In the Adagio cantabile, Gastinel's upper register playing sounds as sweet as anything anyone could play, even my imaginings of Yang, and FFG lends perfect support.  The duo then deliver a super-snazzy Allegro vivace, and here FFG's affinity for LvB pays quite large musical dividends.  One of the very best.