Déjà Review: this review was first published in August 2003 and the recording is still available.
Ludwig van Beethoven (1770-1827)
Variations (12) in F on “Ein Mädchen oder Weibchen” from Mozart’s opera Die Zauberflöte, Op 66 (1796)
Sonata in E-flat major for cello and piano, Op 64 (Arrangement of String Trio, Op 3)
Sonata No 3 in A major for cello and piano, Op 69 (1807-08)
Maria Kliegel (cello)
Nina Tichman (piano)
rec. 2001, Clara Wieck Auditorium, Sandhausen, Germany
Music for Cello and Piano, Volume 2
Naxos 8.555786 [77]
This is the second volume of a planned series of Beethoven’s music for cello and piano performed by Maria Kliegel and Nina Tichman. The first release contains the two Beethoven Op 5 cello sonatas. Although fairly young, both Kliegel and Tichman have many recordings to their credit. Most of Kliegel’s recordings have been for Naxos and include the works of Beethoven, Brahms, Dvořák, Elgar, Shostakovich and Schnittke. Tichman has recorded the complete piano works of Copland and Debussy in addition to a disc of works for clarinet and piano by Reger.
The unusual work on the program is the Op 64 sonata, which is an arrangement of Beethoven’s Op 3 string trio. Although possibly arranged by Beethoven himself, there is no concrete evidence proving authorship. Regardless, the arrangement is completely faithful to the spirit of the String Trio, and I must say that it is a nice change of pace to hear the work played by cello and piano. The performances by Kliegel and Tichman are fetching, and I especially like the rhythmic sway they give the 2nd Menuetto of this six-movement work.
The Variations in F is not among the more substantial of Beethoven’s early pieces. Light and exuberant, only the 10th and 11th Variations offer deeply poignant and serious refrains. Kliegel and Tichman deliver an exceptional performance with abundant energy and enthusiasm. Given their great exuberance, the contrast with the two serious movements is particularly note-worthy.
By far, the most significant work on the program is the Op 69 Sonata, where Kliegel and Tichman are outstanding. I find that the most compelling aspect of Beethoven’s cello sonatas is their blend of rugged determination and sparkling charm/poetry. No version of Op 69 displays these characteristics better than the Kliegel. Both she and Tichman give big-boned readings that are lean, detailed, and propulsive when required. Most important, their degree of Viennese poetry is also at peak level, resulting in an exquisite reading of fine contrasts.
The 1st Movement Allegro of Op 69 covers half the work’s length and contains a heroic element that Kliegel and Tichman mine thoroughly and in enticing fashion. The 2nd Movement is a Scherzo in A minor that switches back to A major in the Trio; Kliegel drives the Scherzo forward with great determination and flair. The slow movement is very short and essentially represents an introduction to the Allegro vivace (IV) that is unabashedly optimistic and playful.
Overall, this new Naxos offering holds up very well to the comparison recordings mentioned above. Usually, I could add the benefit of advantageous pricing to a Naxos release. However, the fact is that both the du Pre and Harrell sets of the Cello Sonatas cost substantially less than the final figure for the Naxos recordings once the cycle of five sonatas is completed. Kliegel and Tichman do have the advantage of exceptional modern sound, and their disc is highly recommended. Once they have fully traversed Beethoven’s music for cello and piano, their recordings will likely be among the best on record.
Don Satz
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