JOHANNES BRAHMS (1833-1897) Sonata for Piano and Violoncello in E minor, Op. 38
Sonata for Piano and Violoncello in F major, Op. 99Mstislav Rostropovich violoncello
Rudolf Serkin pianoDEUTSCHE GRAMMOPHON 410 510-2
[57'41"] full-priceby Lim Tee Heong
With much attention being paid to Brahms's music this year (this being the centenary of the great master's passing) giving this delightful set of cello sonatas a hearing seems very timely. A period of 24 years lie between the composition of the two works, the first in 1862 and the second in 1886. During these years, Brahm's wrote all his four symphonies, so it can be perceived that the F major sonata sounds more "symphonic". This is not a surprising observation, for there is no clear dividing line to be drawn in Brahms between the symphonic and chamber music styles. Robert Schumann also described Brahms's instrumental compositions as "veiled symphonies".
Brahms (right) gave his cello sonatas the title of "Sonatas for Piano and Violoncello" -- a clear indication that he regarded the piano as an equal of the other instrument, not as an accompanist. This places the highest demands of technique and musicianship on both players, qualities very much demonstrated by both Rostropovich and Serkin, and also very much justifying their being widely acknowledged as consummate musicians.
The E minor Sonata starts off in a brooding mood, and just when you think that there is no more brightness to be found, relief emerges when the second subject is finally broached. This state of contrast, being what it is, is only a temporary respite, for Brahms soon presents you the development, a rich tapestry of ideas taken from an earlier portion, yet again reminding one of the imminent darkness in the starting E minor theme. The second movement, Allegretto quasi Menuetto, starts off again in a dark bent, but the rollicking nature of the theme keeps it moving forward. The middle trio section is almost reminiscent of the harmonic vocabulary of Chopin, offering only a tiny peek towards something joyous, but retaining very much a state of melancholy. The ending Allegro, is based on a theme that could have been taken from Contrapunctus XIII of J. S. Bach's The Art of Fugue. We witness here a pulsating theme that is transformed from dark brooding into something very much brighter, not without its struggles and twisting back and forth between darkness and light. The ending is tragic, however, as all the optimisitic glimpses at light does not throw off the ultimately brooding turbulence. The sense of urgency in the struggle is maintained right from beginning to end, something not easily accomplished, but which the two masters make it sound so easy.
The F major Sonata is quite a different work, and it is obvious right from the start, the tremolos thrown around between cello and piano bringing forth a liveliness and excitement that hints at bigger things to come. The contrasting second subject is of such broadness that it is almost unimaginable. I really had to work hard to hear the bigger phrase. The second movement, Adagio affetuoso, is just pure magic. I recommend that it be used as a standard sensitivity test -- if you can hear it without being moved or touched in any way, perhaps you are too caught up in the busy pursuits of urban Singapore. Some sections are characteristic of Brahms, hinting of the future to come, in his Clarinet Sonatas written much later. The third movement, Allegro passionato, is just that -- passionate. Brahms, with his wide harmonic vocabulary and his great capacity for contrast and variety, keeps me rooted by the speakers. The work ends in Allegro molto, a folklike rondo. Brahms frequently utilised folk tunes in his music. The treatment given the rondo is nothing close to folklike, as very sophisticated ideas are introduced and developed. The development is in very concise and terse parameters, with changes coming hard and fast, leaving one feeling a bit breathless trying to catch up with Brahms's train of thought. The ending came quickly as the ideas rushed over, leaving one asking for more, but yet at the same time acknowledging that Brahms, by making the finale short, has achieved the end result of "less is more".
Overall, this is a fantastic CD, both in the quality of the compositions chosen and the performances of the masters. It is a disc not to be found missing from your Romantic music collection. It is always a joy and delight listening to Brahms's music, as I get very much involved in the growth and interplay of musical ideas and emotions. This however may be the only weakness of the CD, for the involvement comes with a price. You get sucked into the whole musical expression, and the world stands still until the Sonatas are finished. Not something for background listening.
This disc is available at (or can be ordered from) Sing Disc Sounds (Raffles City), HMV (The Heeran) and Tower Records (Pacific Plaza).
Lim Tee Heong frequently makes tasteless and insensitive jokes about cellists, but has recanted after reviewing this CD.
Back to the Classical Index!... or read more Brahms reviews in the Inkvault archives!
c.1997. up.31.5.98
Readers' Comments
From: jkm (e@aol.com / Wednesday, December 16, 1998 at 11:42:45)
efg hi!!!!!!!!
From: kayson (kaysonb@hotmail.com / Wednesday, July 19, 2000 at 18:42:55)
In the future I would appreciate some CD comparison isn't that the point of a review? To find the recording that most moves you and is most likely to move me.
From: James Greenfield (0greenfi@uppingham.co.uk / Thursday, June 7, 2001 at 02:28:43)
This article doesn't give the reader any idea of speeds and good information on the Brahms in E minor. What speed should the movements be taken at and does it make a big differents to the performance if the speed differs from the markings in the book?
From: erica (sweeterchic@hotmail.com / Friday, January 25, 2002 at 10:36:30)
I'm doing a report for school on Brahms. and this has all the information I needed THANK YOU!!!
From: Natt (natty@cfu.net / Friday, March 8, 2002 at 11:07:09)
well I guess it's good but if you would want to know info about his life like me....for my report then....i would suggust putting his birthdate and other stuff
From: Strav (mugshot@iname.com / Saturday, July 6, 2002 at 17:55:12)
Is 410 510-2 the correct number for this CD? I have another DG cd with the same number, and it is not about Cellos.
From: tccox (tccox6@hotmail.com / Friday, August 8, 2003 at 16:27:29)
The greatest version of Brahms violoncello sonatas are for me the very hard to get Accord version of 1983 by Rama Jucker [vlc] and Werner Giger [pn] which won the Grand Prix International du Disque - Academie Charles cros award; these more than rostropovich, harell, rose, [pace starker or casals/horzowski in op.99] et al. get to the highest spiritual and artistic heart of these two great works, op.38 and 99; of course the provincial Gramophone magazine never heard of this disc while continental Europe was shall we say more discerning; i got mine in a second hand cd store in Canada; perhaps the closest in sensitivity and exaltation - piatiagorsky, but not superior. Unless you love exalted swooning i'm afraid jucker/geiger has to beat out Rostropovich/Serkin but you'll still find all the great romantic ferver in jucker/giger and a much better instrumental balance, superb recording and classical discipline. Rama Jucker/Werner Giger all time for me
From: alexander devaron (adevaron@temple.edu / Saturday, January 10, 2004 at 03:13:29)
I'm sure this cd is quite good. My all time favorite is an old LP by Bernard Greenhouse. I know this isn't PC, but I forget who the pianist is, and unfortunately the lp is long gone. yrs, A.deV.
From: ( / Friday, October 15, 2004 at 00:59:58)
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dude!!! where are the samples of music!? im doing a project in band and i need samples... you need to listen to the music b4 you buy it... it may be very moving and it will incourage ppl to go out and buy your CD's byebye and i hope you will get those samples in the future and if not... OR ELSE!!!!
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