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See Terms & Conditions for p&p rates. | |  | Beethoven: Cello Sonatas Nos. 2 & 3
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| |  | Beethoven - Complete Works for Piano & Cello
Having received high praise for their recent releases of ‘Russian Cello Masterpieces’ (Zuill Bailey), and the ‘Berlin Concert’ and ‘Bach’s Goldberg Variations’, (Simone Dinnerstein), these two accomplished musicians re-affirm their long–standing partnership with a new 2CD set of the complete works for cello by Beethoven. Simone Dinnerstein and Zuill Bailey have performed together regularly for more than a decade, and together they received the Classical Recording Foundation Award in 2006 and 2007. Both are known as highly accomplished musicians with a flair for arresting interpretations. Simone Dinnerstein has received major critical acclaim for her recent releases of her acclaimed “Berlin Concert”, and Bach’s Goldberg Variations. Zuill Bailey’s recording of Russian music for cello and piano has been similarly well received by the press. Learning Beethoven’s complete works for piano and cello was the first major project that the two of them undertook when they first began working together as a duo. Beethoven’s masterpieces for piano and cello represent arguably the greatest evolution of musical composition by one of the world’s most remarkable and creative minds. The five Sonatas and the sets of Variations chronicle refined points in the early, middle and late stages of his compositions. “Their ensemble is almost miraculously tight, seamless and instinctive. I loved the youthful ardour and brio in the F major Allegro, and we can truly hear the smiles in the witty Variation sets, and the finales of both A major and C major sonatas. Overall, highly impressive.” BBC Music Magazine, January 2010 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Beethoven - Complete Works for Cello & Piano
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| |  | Concerts at the Liszt Academy of Music BudapestThree concerts recorded live at the Great Hall of the Liszt Academy of Music Budapest
6th of January, 3rd February, 18th May 2008
Bach, J S: | Viola da Gamba Sonata No. 1 in G major, BWV1027 Concert No.1 on 6th January 2008 Viola da Gamba Sonata No. 3 in G minor, BWV1029 Concert No.3 on 18th May 2008 Viola da Gamba Sonata No. 2 in D major, BWV1028 Concert No.2 on 3rd February 2008 | Bartók: | Rhapsody for Cello & Piano No. 1, Sz.88 Concert No.3 on 18th May 2008 | Beethoven: | Cello Sonata No. 3 in A major, Op. 69 Concert No.1 on 6th January 2008 Cello Sonata No. 4 in C major, Op. 102 No. 1 Concert No.2 on 3rd February 2008 | Brahms: | Cello Sonata No. 1 In E Minor, Op. 38 Concert No.3 on 18th May 2008 | Chopin: | Cello Sonata in G minor, Op. 65 Concert No.2 on 3rd February 2008 | Debussy: | Cello Sonata Concert No.2 on 3rd February 2008 | Janacek: | Pohádka (Fairy Tale) for Cello and Piano Concert No.1 on 6th January 2008 | Mendelssohn: | Cello Sonata No. 1 in B flat major, Op. 45 Concert No.1 on 6th January 2008 |
A series of three chamber concerts celebrated the Hungarian cellist Miklós Perényi’s 60 anniversary with one of his closest musical colleagues the Hungarian pianist András Schiff. This recording is a document of the concerts held in their alma mater the Liszt Academy of Music Budapest, which for four hours offered a unique experience of music performed by two outstanding musicians. Perényi had finished his studies both at the Music Academy Budapest with Miklós Zsámboki and Ede Banda and the Rome Santa Cecilia Academy at Enrico Mainardi. Schiff became a pupil of Pál Kadosa at Budapest and later immersed himself in the great European schools of performance like master classes by Amadeus Webersinke and George Malcolm. The program was compiled by Miklós Perényi and András Schiff - all three concerts begin and end with Bach and Beethoven, bookending works by Mendelssohn, Chopin, Brahms, Debussy, Janácek and Bartok. “…Perényi…plays with the mesmerising stillness and control of his compatriot János Starker, without the icy precision: there's spontaneity and warmth here, the occasional smile lights up his mournful clown face, though his bows to applause are almost comically shy. Highlights include a vivid, rapturous Bartók Rhapsody and a brilliant Podháka, Janacek's deft miracle of duo composition. Mendelssohn's and Brahms's Sonata No. 1 are warmly flowing and sure, while their Chopin sonata reaches its climax in a magnificently intense slow movement.” BBC Music Magazine, July 2009 **** | | | In stock - usually despatched within 1 working day. |
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| |  | Beethoven - Cello Sonatas Volume 1
Angela Hewitt has taken time out from her impossibly busy solo concert schedule (including her stunningly successful Bach World Tour) to record a dazzling chamber disc with one of the greatest young cellists of today. Daniel Müller-Schott’s rise to fame has been well documented in the world’s press. His fastidious, clean-lined, yet energetic playing is the perfect foil for Angela’s particular artistry. In their first Hyperion CD together, they present Volume 1 of Beethoven’s complete cello sonatas. Beethoven’s first three cello sonatas astonished his contemporaries with their dramatically innovative qualities. Before he wrote them, there were virtually no works in which the cello fully broke away from its subservient role of basso continuo to become an equal partner to the piano. They are works of extraordinary breadth and grandeur. Writing of the Sonata in A major Op 69, the two artists explain that ‘the dialogue between the two instruments reaches perfection, and demands the highest level of communication and expressiveness’. This is surely achieved in this splendid recording. ‘Daniel Müller-Schott is a fast rising star in the cello firmament. His approach is fastidious and full-blooded, marked by emotional generosity kept in bounds by innate good taste and a winsome freshness’ (Vancouver Sun) ‘The magnetic young German cellist Daniel Müller-Schott administered a dose of adrenaline with a compelling performance of Haydn’s Concerto in C. Mr Müller-Schott, a fearless player with technique to burn, made child’s play of the work’s difficulties. But even more impressive were his gorgeous, plush tone and his meticulous attention to expression. He did not slather on vibrato but applied fine gradations, or none at all, to shape phrases graciously’ (The New York Times) “These performances are full of interesting ideas: there's rarely a bar without a subtle bend somewhere along the line and yet the various allegros are sparky in the best sense of the term, rhythmically crisp and alert, especially the rondo finale of the G minor Sonata, which is deliciously pointed by Hewitt.” Gramophone Magazine, December 2008 “…Daniel Müller-Schott and Angela Hewitt's… respond with imagination and flexibility to Beethoven's mercurial changes of mood, one moment tender and reflective, then bold and dynamic…” BBC Music Magazine, December 2008 **** “Müller-Schott’s playing is strong and vibrant … Hewitt brings her characteristic digital dexterity and sparkling articulation to bear … the performances certainly make one look forward to their second disc” International Record Review “The dynamic duo find overwhelming intensity in this music, in a performance packed with detail and emotional gravitas” Classic FM Magazine “Daniel Müller-Schott and Angela Hewitt give Beethoven's first three cello sonatas a nimble and colourful outing. Their musical 'dress' sense is immaculate, with never so much as a quaver out of place, no hint of ungainliness or aggression and a cultivated sound world which, whether presented singly or in duet, is consistently smooth. Their duo engagement is compelling and their repertoire of gestures – vivid dynamics, tiny instances of expressive rubato, suspended breathing and so on – is exceedingly broad. Sometimes the reverie might be considered a little overplayed. At the opening of the A major Third Sonata's brief Adagio third movement Hewitt's dreamily sculpted phrasing verges on sounding Chopinesque, though poetic in effect and poignantly responded to by Müller- Schott.
These performances are full of interesting ideas: there's rarely a bar without a subtle bend somewhere along the line and yet the various allegros are sparky in the best sense of the term, rhythmically crisp and alert, especially the rondo finale of the G minor Sonata, which is deliciously pointed by Hewitt. Those in search of a more overtly masculine approach to Beethoven would probably be better off elsewhere but Müller-Schott and Hewitt provide a bright, decorative antidote to their more austere rivals. The recorded sound is beautifully balanced.” Gramophone Classical Music Guide, 2010 “it is musical matchmaking at its best. With Hewitt's controlled elegance and emotional penetration, and Muller-Schott’s expressiveness and technical virtuosity, the pair separately and together represents the perfect balance of head and heart in performance.” Charlotte Gardner, bbc.co.uk, 28th November 2008 | | | In stock - usually despatched within 1 working day. |
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Evzen Rattay (cello), Stanislav Bogunia (piano) | | | In stock - usually despatched within 1 working day. |
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“Above all these accounts, outstandingly recorded, communicate a level of vitality and spontaneity that is normally experienced in live concerts. From the very first bar of the F major Sonata one feels that Wispelwey and Lazić are re-examining each familiar phrase and finding new and infinitely varied ways of responding to Beethoven's musical argument.” BBC Music Magazine, June 2005 ***** “highly distinctive performances, played with enormous flair and perfect technical control, and splendidly recorded” Gramophone Magazine “The articulation and attack, the use of vibrato and the shaping of phrases all combine to make this a richly rewarding experience.” Gramophone Magazine, Awards Issue 2005 | | | In stock - usually despatched within 1 working day. |
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| |  | Beethoven - Cello Sonatas & Variations
“The virtues of these performances are evident from the very start of the F major Sonata. There's an absolute unanimity of phrasing and articulation between Anne Gastinel and François-Frédéric Guy in those searching arpeggios. The give and take between the instruments in the ensuing dialogue seems perfectly mapped out, bringing a delightful Mozartian grace to both the Allegro and the Rondo.” BBC Music Magazine, May 2005 **** “The phrases are finely drawn, with tone that is never inappropriately heavy or too powerfully sustained. The rhythms are poised, the articulation clear and crisp, and in the variation sets as well as in the early sonata there’s an element of wit and playfulness that’s an essential part of the young Beethoven.” Gramophone Magazine | | | (also available to download from $10.50) | In stock - usually despatched within 1 working day. |
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Gramophone Magazine
