Beethoven: complete Cello Sonatas Vol. 1

On this CD:

1. Sonata for cello & piano No. 3 in A major, Op. 69
Composed by Ludwig van Beethoven
Performed by Dimitry Markevitch, Daniel Spiegelberg

2. Sonata for cello & piano in E flat major (arr. of String Trio, Op. 3), Op. 64
Composed by Ludwig van Beethoven
Performed by Dimitry Markevitch, Daniel Spiegelberg

3. Sonata for cello & piano No. 4 in C major, Op. 102/1
Composed by Ludwig van Beethoven
Performed by Dimitry Markevitch, Daniel Spiegelberg

Beethoven: complete Cello Sonatas Vol. 1, Music, Dimitry Markevitch, Ludwig van Beethoven, Daniel Spiegelberg, Cello with Keyboard, Chamber, Classical

Complete Beethoven Edition, Vol. 8: Cello Sonatas
Average customer rating:

Good but not the Best!!!

Fiery, Splendid Performances Of Beethoven's Cello Sonatas

Hat Trick

Fiery rendition of the sonatas

Complete Beethoven Edition, Vol. 8: Cello Sonatas

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
Cello | Strings | Instruments | Classical | Styles | Music
General | Classical | Styles | Music
General | Chamber Music | Classical | Styles | Music
Deutsche Grammophon: Music | Specialty Stores | Music
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Complete Beethoven Edition, Vol. 4: Fidelio/Leonore

Complete Beethoven Edition, Vol. 9: Piano Trios

Complete Beethoven Edition, Vol. 13: Late String Quartets

Complete Beethoven Edition, Vol. 7: Violin Sonatas

ASIN: B000001GZB
Release Date: 1997-11-25

Tracks:

Twelve Variations In F Major On The Theme 'Ein Madchen oder Weibchen' From Mozart's Opera 'The Magic Flute': Thema. Allegretto
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation I
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation II
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation III
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation IV
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation V
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation VI
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation VII
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation VIII
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation IX
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation X. Adagio
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation XI. Poco Adagio quasi Andante - attacca subito:
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute': Variation XII. Allegro
Sonata For Piano & Cello In F Major Op. 5, No. 1: 1. Adagio sostenuto -
Sonata For Piano & Cello In F Major Op. 5, No. 1: Allegro -
Sonata For Piano & Cello In F Major Op. 5, No. 1: Adagio - Presto-Tempo primo
Sonata For Piano & Cello In F Major Op. 5, No. 1: 2. Allegro vivace
Sonata For Piano And Cello In G Minor Op. 5, No. 2: 1. Adagio sostenuto e espressivo - attacca:
Sonata For Piano And Cello In G Minor Op. 5, No. 2: Allegro molto piu tosto presto
Sonata For Piano And Cello In G Minor Op. 5, No. 2: 2. Rondo. Allegro
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Thema. Andante
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation I
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation II
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation III
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation IV
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation V. Si prenda il tempo un poco piu vivace
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation VI. Adagio - attacca subito:
Seven Variations In E flat Major On The Duet 'Bei Mannern, welche Liebe fuhlen' From 'The Magic Flute'from: Variation VII. Allegro ma non troppo

Tracks:

Sonata For Piano & Cello In A Major Op. 69: 1. Allegro ma non tanto
Sonata For Piano & Cello In A Major Op. 69: 2. Scherzo. Allegro molto
Sonata For Piano & Cello In A Major Op. 69: 3. Adagio cantabile
Sonata For Piano & Cello In A Major Op. 69: 4. Allegro vivace
Sonata For Piano & Cello In C Major Op. 102, No. 1: 1. Andante -
Sonata For Piano & Cello In C Major Op. 102, No. 1: Allegro vivace
Sonata For Piano & Cello In C Major Op. 102, No. 1: 2. Adagio - Tempo d'Andante -
Sonata For Piano & Cello In C Major Op. 102, No. 1: Allegro vivace
Sonata For Piano & Cello In D Major Op. 102, No. 2: 1. Allegro con brio
Sonata For Piano & Cello In D Major Op. 102, No. 2: 2. Adagio con molto sentimento d'affetto - attacca:
Sonata For Piano & Cello In D Major Op. 102, No. 2: 3. Allegro - Allegro fugato
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Thema. Allegretto
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation I
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation II
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation III
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation IV
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation V
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation VI
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation VII
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation VIII
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation IX
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation X. Allegro
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation XI. Adagio
Twelve Variations (In G major) On A Theme From Handel's Oratorio 'Judas Maccabaus': Variation XII. Allegro

Customer Reviews:

Good but not the Best!!!.......2002-02-26

Argerich and Maisky deliver a good performance,but not quite inspiring.The playing is virtuosic and heady but robs the work of its true majesty and grandeur.I recommend the inspired performance by the incomparable Pierre Fournier and Kempff as a top choice for these beautiful works.Fournier brings a broad lyrical flow and Kempff matches with a sensitive touch.It is like true noble friends sharing an intimate and inspired conversation.Truly a noble performance with a broad sweep and flowing lyricism at its best.i have not listened to Richter/Rostropovich but I do not have to.The Fournier/Kempff performance has a sense of completeness.I understand why Kempff is one of the very best ever when it comes to Beethoven's sonatas.Truly a great artist and fournier is in the same class.
How sad that this album(deustche grammaophone)is not even listed in the Amazon catalogue!the sound quality is excellent for a 1965 recording!

Fiery, Splendid Performances Of Beethoven's Cello Sonatas.......2001-12-15

Since I haven't heard the legendary recordings with Richter and Rostropovich, I can't compare their traversal of Beethoven's cello sonatas with Argerich's and Maisky's. Yet I think this is one of the most exciting recordings of Beethoven's chamber music I've heard, notable for Argerich's dramatic playing. Yet Maisky comes across as a skillful interpreter of his own, not once taking a back seat to Argerich's keyboard pyrotechnics. Instead, what you have hear is a splendid collaboration between equally gifted musicians, in which one occasionally takes the lead. There is clearly an atmosphere of familiarity, warmth, and indeed, friendship, in their playing. These fine performances are enhanced by Deutsche Grammophon's state-of-the-art digital recording.

Hat Trick.......2001-05-08

The thing about Beethoven's chamber music is that he often "pretends" he's writing for orchestra. This is nowhere more evident than in the cello sonatas, in which the cello may be both a solo instrument and the bass line of the orchestral texture, and the piano may be a solo instrument or provide the inner voices of the orchesral texture-and, of course, Beethoven calls on both performers to wear both hats, and to alternate between them frequently, sometimes within the space of a single measure. Apart from the individual mastery of both these performers, the reason why this recording is so successful is that Argerich and Maisky do such an excellent and intelligent job of changing hats as the music requires. It is a beautiful and wonderfully engaging performance, of such interpretive richness that you're guaranteed to hear more every time you listen to it. And, of course, nobody can touch the mellifluous lushness of Maisky's tone.

Fiery rendition of the sonatas.......2000-10-15

The performances here are first rate. While they do not surpass the classic Richter/Rostropovich recordings, they nevertheless a offer a distinctive view of these beautiful sonatas. Like the Richter/Rostropovich collaboration, the Argerich/Maisky team is one of equal partnership (though with a slight but noticable nod to the pianist). In fact, sometimes Argerich seems to even dominate and lead the music, which, with a musician of her caliber, isn't necessarily a bad thing. As is with much of Argerich's performances, the music here is intense and driven. For those who own the Argerich/Kremer set of Beethoven violin sonatas, you will certainly hear many stylistic similarities. Oh, and don't forget the three variations (basically encores) included here. They are very pleasant as well. Recommended.