Like many people of my age who
were discovering classical music in the early 1970s, I first came across Franz
Schubert’s delightful Sonata Arpeggione for cello and piano, D821 (1824) on a
Decca recording (SXL 6426) made by the magnificent combination of Mstislav
Rostropovich and Benjamin Britten. It had the added value of being coupled with
Frank Bridge’s powerful Cello Sonata completed in 1917 and providing an
enigmatic balance between ‘pastoralism’ and an exploration of a more recent
European expressionism. Readers will forgive me if I admit that this recital
has followed me since I bought the LP second-hand around 1971 and replaced it
with the CD when it was released in 1995. I have not had recourse to any other
version over the past 47 years. Neither have I heard this work played on the
original ‘arpeggione.’
The Sonata was composed in 1824
at the behest of Vincenz Schuster, who was a virtuoso of the guitar-like
instrument. Most subsequent performances have been played on the cello, as
enthusiasm for the arpeggione had waned by the time Schubert’s work was
published posthumously in 1871. The Sonata is full of splendid melodies, which
seem to unfold one after the other. The opening theme is wistful, the adagio, hymn-like
and the final allegretto is full of contrast and interest.
So, it is good to come across a
version of this work which I thoroughly enjoyed. I shall still regard the Rostropovich/Britten
as my ideal, but I cannot fault the playing and the interpretation given by
Jonathan Swensen and Filip Strauch. They present this music thoughtfully and
with little attempt at providing anything other preserving the charming and
well-managed naivete of this music.
A different story applies to my discovery
of the Rachmaninov Sonata for cello and piano: I picked up on a performance by
Paul Tortelier on Radio 3. The wonders of the internet suggest that this was probably
part of the ‘Composer of the Week’ broadcast over the Christmas period of 1972.
Although I cannot recall the details, it was most likely played from the HMV LP
ASD 2587 with Aldo Ciccolini on the piano. I was bowled over by the entire work
and felt that it was a chamber ‘pendant’ to my then recent discovery of the
Rach.2 Piano Concerto. Pocket money (lack of) prevented me from buying this
album. It struck a chord, and I did hear it on the wireless a few more times. I
never subsequently bought a recording of this work but did have the opportunity
to review Philip Handy’s reading (VIF RECORDS VRCD082) in 2013.
Rachmaninov’s Cello Sonata was
composed at the turn of the 20th century, receiving its premiere on
2 December 1901. I have long thought that two things predominate in this work.
Firstly, the piano part could tend to dominate, having a huge part in the
proceedings. So much so, that it often seems as if the cello is providing a
kind of ‘continuo’ for the piano. Much of the pianism seems to echo Rach. 2. The other ‘strange’ feature of this sonata is
that it almost seems to be a concerto. I have written before that if you half
shut your eyes and imagine, your mind will supply the orchestral background. It
is also a feature of much of Rachmaninov’s solo piano music.
The Sonata is presented in four
contrasting movement. The dynamic ‘scherzo’ is placed second whilst the
‘andante’ features music that is both introspective and highly-charged with
romance and passion. Both players have managed to avoid the pitfalls of making
this sonata into one for piano with a cello ‘obligato’.
Not sure about the CD artwork. On
the rear cover, both gentlemen appear to be raising their eyes heavenward for
inspiration, whereas on the front, only the cellist is seeking divine aid.
Strauch looks as if he is having a sulk. As seems to be the case with so many
liner notes these days, the font is miniscule. Fortunately, I had a .pdf file
provided, so I was able to discover that there is precious little discussion
about the music, but considerably more about the soloists and their working
relationship. I guess programme notes for these two works are easy to find on
the ‘net, however I do think there ought to be something about the works given here.
This present CD is the debut
recording of both musicians. They met the Royal Academy of Music in Copenhagen
in 2014 and subsequently had a successful recital career around the world and
in the television studios. It is a well-played disc that is surely an
auspicious start to their recording career.
Track Listing:
Franz SCHUBERT (1797-1828)
Sonata Arpeggione for cello and piano, D821 (1824)
Sergei RACHMANINOV
(1873-1943)
Sonata for cello and piano in G minor, op.19 (1901)
Jonathan Swensen (cello) Filip Strauch (piano)
Rec. Studio Hall of The Royal Danish Academy of Music in
Copenhagen, 2016/2018
DANACORD DACOCD
834
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