Ludwig van Beethoven (1770-1827)
Complete Works for Piano and Cello
Cello Sonata No 1 in F major, Op 5 No 1
Cello Sonata No 2 in G minor, Op 5 No 2
Cello Sonata No 3 in A major, Op 69
Cello Sonata No 4 in C major, Op 102 No 1
Cello Sonata No 5 in D major, Op 102 No 2
12 Variations on See the Conquering Hero comes from Handel’s Judas Maccabeus WoO45
12 Variations on Ein Madchen oder Weibchen from Mozart’s Die Zauberflöte, Op 66
7 Variations on Bei Mannern welche Liebe fühlen from Mozart’s Die Zauberflöte WoO46
Robert deMaine (cello)
Peter Takács (piano)
rec. 2017, Clonick Recording Studio, Oberlin Conservatory of Music, Oberlin, USA
Leaf Music LM233 [2 CDs:139]
Only last month I reviewed Peter Takács’ Complete Beethoven Piano Sonata cycle on the Cambria label. As one of the finest cycles I’d encountered, I nominated it a Recommended Recording. This led me to search out other recordings he had made, and I came across this one he set down with American cellist Robert deMaine, Principal Cellist of the Los Angeles Philharmonic, featuring Beethoven’s Complete Music for Piano and Cello. Although the recording was made back in 2017, it has only now been released by the Canadian label Leaf Music.
Beethoven’s works for cello and piano span almost his entire compositional career, embracing his early, middle and late periods. The two Op 5 sonatas, both cast in two movements, date from 1796, a time when the composer was in Berlin. He was granted an audience with King Friedrich Wilhelm II of Prussia, a keen amateur cellist. In the king’s employment was Jean Louis Duport, a virtuoso cellist, who went on to revolutionize cello technique. The Op 5 sonatas were dedicated to Friedrich Wilhelm, but premiered by the composer and Duport. These sonatas broke new ground and marked the coming of age of the cello as a solo sonata instrument. No longer was the cello marked out for a subordinated role, rather it was to find its voice as an equal partner in a duo sonata. Fast forward to 1808 and we have the Sonata in A Major, Op 69, a work contemporary with the Fifth and Sixth Symphonies. The two sonatas Op 102 were penned in 1815 and showcase a final flourish. By this time the composer was almost totally deaf, and this is borne out by the generally more introspective demeanour of the music. It’s interesting to note that Beethoven referred to this genre as ‘Sonatas for Piano and Cello’, not the other way round.
The Op 5 Sonatas each consist of two fast movements, preceded by slow introductions. Unusually, neither has a slow movement. Takács and deMaine bring a sense of freshness and vitality to their performances, and one detects an exhilarating Haydnesque joie de vivre especially in No 1 in F major. By contrast, the G minor Sonata is cast in a more serious vein, painted in darker hues, with its velveteen disconsolate moments.
Overflowing with melodic largesse, the A major Sonata, Op 69 seems to be the most popular of the cycle, and is certainly the most frequently performed. The wealth of thematic material, mood changes and temperament are characteristic of the composer’s middle period. Takács and deMaine adopt a conversational tone in the opening movement, savouring the music’s glorious lyricism. The Scherzo is enlivened by rhythmical and sprightly buoyancy. The finale opens with tender expressiveness, with deMaine caressing the phrases lovingly and expressively. This leads into the Allegro vivace which the performers dispatch with an injection of gusto and éclat.
The two Opus 102 sonatas can be positioned between the Eighth and Ninth symphonies. As late period works they are at the vanguard of innovation, as are the late quartets and the three last piano sonatas. The C major’s opening is unhurried and profound. The performers play it as though the music is being created on the wing. The Allegro vivace’s dotted rhythms register a striking impact. There’s a static quality to the Adagio, which precedes a sprightly faster section. Ensemble is flawless. In the Sonata No 5 in D major, Beethoven adopts a three-movement design. At its centre is a soul-searching Adagio, here performed with fervent intensity and dedication. It’s preceded by a dramatic opener and followed by a complex fugal movement, nicely articulated and balanced with clarity and precision.
Three sets of variations complete the recording. In each there’s an ideal balance between the instruments and a palpable intimacy. The performances are stylish and the variations are superbly characterized. This is especially evident in the theme of the Variations on Mozart’s Bei Männern welche Liebe fühlen. I think this set of variations comes off the best; never have I heard it better played.
There is much to enjoy here, and the cycle confirms the estimable talents of both Peter Takács and Robert deMaine. Beethoven admirers and cello mavens will most certainly find much to satisfy them in this release, where passion, intensity and artistic vision are appreciable throughout.
Stephen Greenbank
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