Beethoven’s works for cello and piano cover a large part of
his compositional life with the two Op.5 cello sonatas and Mozart and Handel
variations dating from 1796 and the final two cello sonatas, Op.102 dating from
1815.
A new release from
Pentatone www.pentatonemusic.com features cellist Matt Haimovitz www.matthaimovitz.com and pianist
Christopher O’Riley http://christopheroriley.com
playing all of Beethoven’s sonatas and variations for cello and piano. Haimovitz
plays his own Goffriller cello made in Venice, Italy in 1710 fitted with ox-gut
strings also from Italy and an early 19th century rosewood tailpiece. He uses a
Dominique Peccatte bow of the same era. Christopher O’Riley plays on an
original Broadwood fortepiano made in 1823.
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| 2 SACD / Download PTC 5186475 |
Matt Haimovitz
made his debut in 1984, at the age of 13, as a soloist with Zubin Mehta and the
Israel Philharmonic. He made his first recording for Deutsche Grammophon
(Universal Classics) at the age of 17 years with James Levine and the Chicago
Symphony Orchestra. Haimovitz made his Carnegie Hall debut when he substituted
for his teacher, Leonard Rose, in Schubert’s String Quintet, alongside Isaac
Stern, Mstislav Rostropovich, Pinchas Zukerman and Shlomo Mintz.
Haimovitz’s recording career encompasses more than 20 years
of award-winning work on Deutsche Grammophon and his own Oxingale Records.
Close collaborations have included composer Philip Glass, pianist Christopher
O’Riley, actor Jeremy Irons, author Cornelia Funke, and mezzosoprano Frederica
von Stade, among others. Haimovitz has been the recipient of the Concert Music
Award from ASCAP, the Trailblazer Award from the American Music Center, the
Avery Fisher Career Grant, the Grand Prix du Disque, the Diapason d’Or, and the
Premio Internazionale ‘Accademia Musicale Chigiana.’
Acclaimed pianist Christopher
O’Riley is known to millions as the host of NPR’s (National Public Radio,
USA) radio show From the Top. Now in
his fifteenth year on air, O’Riley introduces the next generation of classical music
stars to almost a million listeners each week. He performs around the world and
has garnered widespread praise for his untiring efforts to reach new audiences.
O’Riley has performed as a soloist with virtually all of the
major American orchestras, including the New York Philharmonic, Los Angeles
Philharmonic, Philadelphia Orchestra, Chicago Symphony, National Symphony, and
San Francisco Symphony. He led the
Academy of St Martin in the Fields on a two-week tour of ten American cities
performing concertos by Bach, Mozart, and Liszt and toured throughout the
United Kingdom with the Moscow Philharmonic. He has worked with such renowned
conductors as Alan Gilbert, David Robertson, Leonard Slatkin, Neeme Järvi,
Marin Alsop, Semyon Bychkov, Hugh Wolff, and many others. In addition, O’Riley
has performed recitals throughout North America, Europe, and Australia. He has
collaborated for many years with the flautist Sir James Galway and cellists
Matt Haimovitz and Carter Brey.
Matt Haimovitz and Christopher O’Riley open the first disc
of this two CD set with Beethoven’s Cello
Sonata No. 1 in F major, Op. 5, No. 1 (1796). Haimovitz’s cello brings a
lovely rich tone in the opening of the Adagio
Sostenuto, contrasting well with the lighter, transparent textures of Christopher
O’Riley’s fortepiano in this beautifully paced movement. They move seamlessly
into the Allegro where O’Riley brings
a fine, fluent touch with Haimovitz chasing forward with equally fine playing.
There are some particularly lovely higher notes from the fortepianist as well
as moments of fine incisiveness from these players. Haimovitz reveals a fine
rubato with playing full of character with beautifully rich colours and
textures. There is a lovely dialogue developed between these two fine artists
with a terrific tautness. The Rondo (Allegro
vivace) brings some absolutely terrific playing, fine rich incisive phrases
from Haimovitz and remarkably fast and fluent fortepiano passages from O’Riley.
They bring a great rhythmic swagger before the music slows to lead to the
decisive coda.
12 Variations in G
Major on See the conquering hero comes from Handel's Judas Maccabaeus, WoO 45 also
dates from 1796 and receives a lovely crisp opening before leading into some beautifully
shaped moments. Again there is very fine rubato from Haimovitz who draws some
very fine textures and colours even in the more dynamic passages. O’Riley
provides some particularly fine and fluent playing not to mention finding
sensitive quieter moments later in the variations. This is a terrific
performance.
There is a gloriously shaped opening to the Adagio sostenuto ed espressivo of the Cello Sonata No. 2 in G minor, Op. 5, No. 2 (1796) building subtly
in drama as it progresses with really very fine playing and an exquisite
coda before leading gently into the Allegro molto più tosto presto rising up
dynamically as they move forward. There is more terrific interplay between
soloists as well as some terrifically fluent playing from O’Riley with
Haimovitz creating more fine textures and sonorities. There is a very fine opening
to the Rondo (Allegro) from O’Riley before
Haimovitz enters. These players really hurtle ahead with some terrific fleet
playing from Haimovitz equally matched by O’Riley, full of panache with some impressive
playing as they head to the coda.
These two players bring very fine precision to Beethoven’s 12 Variations in F major on Ein Mädchen oder Weibchen from Mozart's
Die Zauberflöte, Op. 66 (1796) as they move through Beethoven’s lovely
piece revealing so many fine moments. There is some particularly sensitive and
finely balanced playing in the quieter moments as well as some beautifully
crisp and pointed up passages, with, at times, a naturally unstoppable feel. A
really lovely performance.
The second of these two CDs leads with Beethoven’s Cello Sonata No. 3 in A major, Op. 69
(1808). There is a glorious opening to the Allegro, ma non tanto from Haimovitz full of a rich mahogany sound.
As O’Riley joins and they develop the theme it is beautifully paced, drawing
out all of Beethoven’s fine invention. There is fine care of dynamics with
Haimovitz bringing a lovely characterful feel to his tone. There are moments of
terrific passion before the beautifully done coda.
Some beautifully crisp playing from O’Riley opens the Scherzo (Allegro molto) closely followed
by equally fine incisive playing from Haimovitz, drawing some very fine
sonorities before they build a great tension with wonderfully taut playing
before the subdued coda. The Adagio
cantabile has a lovely opening with
Haimovitz revealing some deep emotional feeling with O’Riley bringing sensitive
and delicate accompaniment before they take off in the Allegro Vivace with playing of tremendous style and precision.
There are some lovely little moments full of character and humour as well as some
beautifully built passages as they rise from hushed to dynamic with exhilarating
and breathtakingly fine playing.
One notices Haimovitz’s lovely singing cello as the 7 Variations in E-Flat Major on Mozart's
"Bei Männern, welche Liebe fühlen", WoO 46: from Mozart's Die
Zauberflöte, open. These players have a seemingly intuitive understanding
of each other’s playing. O’Riley brings some lovely, sensitive, hushed
fortepiano passages with these two players really knowing how to bring these
variations alive.
The little Andante that opens the Cello Sonata No. 4 in C major, Op. 102, No. 1 (1815) has a lovely
thoughtful opening, beautifully developed so that when the Allegro Vivace arrives the dramatic thrust is intense bringing
fire and emotional impact with some incisive and taut playing. Haimovitz and
O’Riley judge the Adagio - Tempo
d'andante perfectly, drawing more exquisitely shaped and textured playing
before the Allegro Vivace where there
is a very fine rhythmic sway to the
music not to mention some terrific playing of Beethoven’s quirky little phrases.
This duo’s playing is marvellously precise and taut as they round off this
sonata.
There is tip top precision from both these players in the
opening Allegro con brio of
Beethoven’s last Cello Sonata, No. 5 in
D major, Op. 102, No. 2 (1815) bringing out so much of the composer’s fiery
temperament set against moment of sheer poetry. The Adagio con moto sentimento d'affetto brings a sonorous and solemn
movement with these artists bringing equally fine individual contributions,
exquisitely done, slowly developing with Haimovitz’s lovely tone revealing so
much. There are many fine subtleties and beautifully shaped quieter moments with
the balance between cello and fortepiano beautifully done in the hushed
moments.
Haimovitz and O’Riley skip gently into the Allegro - Allegro fugato before picking up
the pace, bringing all their fine intuitive accuracy and ensemble to the fugal section
with a fine rhythmic spring to their playing before leading to a fine coda. Matt
Haimovitz and Christopher O’Riley bring playing of terrific panache and brio to
sit alongside moments of fine poetry, rich textures and colours and an intuitive
understanding of each other. They receive very fine recorded sound that is
clear and detailed yet brings out all of the rich textures of Haimovitz’s fine
instrument.
If you are looking for a period instrument performance of
these works you won’t find better.
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