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Richard Strauss & Sergei Rachmaninoff – Sonatas For Cello And Piano

Richard Strauss & Sergei Rachmaninoff – Sonatas For Cello And Piano

Recorded between 21 & 22/12/1987 at the Studio 3 of Bayerischen Rundfunk.


About the Work:

Though Strauss is known primarily as a composer of tone poems and operas, he nonetheless made several important contributions to the chamber literature, including the present work. Highly praised following its premiere, the Cello Sonata is dedicated to cellist Hans Wihan, with whose wife, Dora, Strauss fell in love prior to his own marriage to Pauline de Ahna. The Sonata is in three movements — Allegro con brio, Andante ma non troppo, and Finale: Allegro vivo — and showcases both Strauss’ lyrical melodic writing for cello and his considerable understanding of the piano. Many of the formal difficulties evident in Strauss’ earlier efforts, such as excessive repetition, are resolved in this piece as variation reveals itself as a burgeoning and important aspect of his compositional style. The first movement, in sonata form, features a multiplicity of themes in a kind of dialogue. Each theme is actually a group consisting of two contrasting themes: the first and second groups contrast with one another — per the typical practices of sonata form — but the themes are also internally divided, each group having one strong, declamatory theme and one of a more gentle, lyrical nature. The movement otherwise closely follows standard first-movement principles and is notable also for the incorporation of a skillful fugato. The second movement is a chorale and, as elsewhere in his music, Strauss is less comfortable with homophonic texture than with polyphony. The final movement is a humorous, canonic Allegro, marked by adventurous harmonies and a lighthearted and rhetorical use of silence that foreshadows Strauss’ later works. Though the influence of Mendelssohn is clearly present, early indications of Wagner’s increasing influence on Strauss are also in evidence.

The common wisdom on Rachmaninov’s Sonata for Cello and Piano is that it is really a piano sonata with cello accompaniment. While this assessment may be a slight exaggeration, it cannot be denied the piano is the dominant instrument in the work. The composer completed this sonata in November 1901, and gave the premiere in Moscow with cellist Anatoly Brandukov, on December 2 of that year, but apparently made several alterations over the next ten days, since he wrote the date of December 12, 1901, on the final page of the score. The work is cast in four movements. The first is marked Lento – Allegro moderato – Moderato and is the longest of the four, especially when the exposition repeat is observed. It begins with a slow introduction in which the piano presents a six-note theme that at first appears insignificant, but in fact plays a key role throughout. The tempo picks up and the cello presents a passionate, beautiful theme. A slower, somewhat more wistful melody follows, after which comes the stormy development section. The reprise ensues and the movement ends in typical Rachmaninovian fashion: the tempo speeds up as thematic morsels appear in a race to the finish, the piano crowning the coda with three resolute chords. The second movement, marked Allegro scherzando, begins with piano writing reminiscent of the faster and more sinister passages in the Rhapsody on a Theme of Paganini. The cello presents a rhythmic idea in the opening moments of marginal interest. Two other themes are also presented, the latter of which is quite beautiful and recalls the mood of much of the slow music in the Second and Third Piano Concertos, especially in the piano writing. The third movement is viewed by many as the strongest of the four. Marked Andante, it begins on the piano with a lovely theme of intimate and passionate character. After the cello enters, the material expands much the way the melody does in the second movement of the Second Piano Concerto. A powerful climax is reached, and the third movement ends softly. The finale starts off with a robust theme on the cello that rather lacks the individual stamp of the composer. Still, the music is bright and vivacious and has strong appeal. There follows a second subject more in the Rachmaninovian vein, full of passion and beauty and seeming to soar to the heavens. The two themes reappear throughout, the composer deftly manipulating their interplay. In the beginning of the coda, the cello recalls the piano’s opening (six-note) theme from the first movement, and then the work ends brilliantly.

Track List:
1. Richard Strauss – Sonata F-dur op.6 1. Allegro con brio (9:40)
2. Richard Strauss – Sonata F-dur op.6 2. Andante ma non troppo (9:31)
3. Richard Strauss – Sonata F-dur op.6 3. Finale. Allegro vivo (9:03)
4. Sergei Rachmaninoff – Sonate G-moll op.19 1. Lento – Allegro moderato (11:00)
5. Sergei Rachmaninoff – Sonate G-moll op.19 2. Allegro scherzando (6:26)
6. Sergei Rachmaninoff – Sonate G-moll op.19 3. Andante (5:58)
7. Sergei Rachmaninoff – Sonate G-moll op.19 4. Allegro moso (10:52)

The Players:
Werner Thomas: cello
Carmen Piazzini: piano

Stereo, DDD, FLAC, 62:30 minutes. Covers & info included.

Part1 —–   Part2 —–   Part3

2 Responses

  1. Thanks for the insight into the rachmaninoff work. The complexity and ingenuity of this composer are always fascinating to read about.

  2. Thanks Jazzman2008. I really enjoyed this one :)

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