Kodály: Sonata for Cello and Piano, Op. 4

“It's a deeply idiomatic performance [of the Kodály], as we can hear in the declamatory style of the opening and the delicate filigree of the second movement's ornaments...The writing for cello [in the Roxburgh] is inventively colourful and Barralet relishes its dramatic possibilities.” Gramophone Magazine, August 2010

“Kodály's Solo Cello Sonata is among the strongest, most searching of all his works, arguably the finest of all works for unaccompanied cello since Bach's suites, and here it receives a performance of exceptional power, precision and clarity from Jirí Bárta. His command in tackling the most formidable of technical problems means that he's able to keep a steady tempo and clarify textures with clean attack on double stopping, all seemingly without strain. Yet the intensity of his performance never flags, with a rare depth of concentration in the dark central Adagio. In the folk-dance rhythms of the Allegro finale he's volatile and thrusting, again using a formidable dynamic range that's well caught by the recording.
The same goes for the accompanied Cello Sonata. Bárta is well-matched by his pianist, Jan Cech: they make light of the problems presented by the many tempo changes in both movements, an opening Fantasia and a weighty finale, by giving an improvisatory feel. The folk element is heightened by an element of rawness, with the players striking sparks off each other.
The Supraphon disc has a substantial supplement in one of Vitezslav Novák's late works, a Cello Sonata. Written in 1941 during the Nazi occupation of Czechoslovakia, it represented an eruption of hatred against the invaders. Though it may not quite match the two Kodály works in emotional power, the passionate character of this closely argued single movement – bringing together elements of a multi-movement sonata structure – is most impressive, particularly in a performance as commanding as this.” Gramophone Classical Music Guide, 2010

“Wallfisch and York deliver an impressive performance of the fate-haunted La lugubre gondola...Fine recorded sound surrounds the exceptional playing with just the right amount of resonance.” BBC Music Magazine, July 2013 *****

“Maria Kliegel's explosive musical imagination and phenomenal technique generate an enthralling realization of the Kodály solo sonata.....Another winner from Naxos, and further confirmation, as if it were needed, of Maria Kliegel's high distinction among today's master cellists.” Fanfare

“Maria Kliegel rises to the challenge of Kodály's Solo Sonata with considerable gusto: harmonics, glissandos, sul ponticello, fiery arpeggios – all are expertly employed and delivered via a nicely rounded tone. Kliegel's lustrous account of the Adagio underlines harmonic similarities with late Liszt and the folky, one-man-band finale has ample panache. The appreciative booklet-note relates Bartók's enthusiasm for the Solo Sonata's 'unusual and original style…[and] surprising vocal effects'. In fact, no other work by Kodály is so profoundly Bartókian in spirit. The Sonata, Op 4, is a far milder piece, though forthright expressive declamation sits at the centre of the first movement and the second is infused with the spirit of folk music. Kliegel and Jenö Jandó are in musical accord, and the recording is very good – although if you listen to the 'Bach-Kodály' tracks and wait for the Solo Sonata to start, you'll note a huge expansion in the cello's recorded profile.
The three Chorale Preludes that open the programme are 'attributed Bach' and enjoy the rich trimmings of a thunderous piano part (Busonicum- Liszt, with a snatch of Bartók for good measure) and a warm flood of tone from Kliegel.” Gramophone Classical Music Guide, 2010