Martinu: Variations on a Theme of Rossini

Beethoven, a young charmer at the time, submitted to the art of rococo variations on Mozart arias that were in vogue. Martinù took over this playful approach with Rossini then adapted it to folk song whilst preserving the freshness, its hidden gravity and its original authenticity. Jiri Gemrot pastiches Beethoven with humour then, like a real heir of Martinu, pays tribute to Dvorak.

Paul Watkins is one of the world’s finest cellists. He is much in demand throughout the world and although he has made several recordings for Chandos in the past, this is his first as an exclusive artist. He is accompanied by his brother Huw Watkins, with whom he has developed an extremely rewarding musical partnership.

The three cello sonatas of the Czech composer Bohuslav Martinu span the period 1939 – 52 and are full of rewarding musical invention. The experience of his long exile was often expressed in his music, particularly here in the Third Sonata and in the Variations on a Slovak Theme. If in the First, competed in 1939, the unease occasioned by World War II may be detected in the first two movements, the energetic finale, driven by Martinu’s motoric rhythms, prompted the composer to remark of its first performance: ‘It came as a last greeting, a beam of light from a better world (which is the opinion of others, not my own). For several minutes we realised what music could give us and we forgot about reality.’

In the Second Sonata, of 1941, the composer embraced classical forms, though the first movement is typically vigorous and energetic, in the composer’s most rhythmic manner. The second movement is full of passionate longing, with a gorgeous lyrical cello line, whilst the finale uses the composer’s characteristic motor rhythms, with powerful stamping gestures suggesting Bohemian peasant dances.

The Third Sonata, completed in October 1952, is the most immediately appealing of the three sonatas, full of attractive Czech melodies and offering essentially good-natured melodies and harmony – as well as humour, especially in the finale.

The Variations on a Theme of Rossini (1942), dedicated to Gregor Piatigorsky, shows the composer at his most wittily light-hearted, and offers brilliance and virtuosity in spades. The Variations on a Slovak Theme (1959) were written during the composer’s final illness – Martinu had been diagnosed with stomach cancer. They are certainly appealing and resourceful, but strong feelings for the distant homeland are distinctly audible.

The cello is perhaps the most romantic instrument of all. Its deep and sonorous sound evokes a melancholy and romantic atmosphere, touching a sensitive chord in everybody's soul.

This set contains some of the best-loved pieces for cello and piano. Two young exciting artists, Timora Rosler and Klára Würtz, make their debut together, playing with heart-felt warmth and musicality.

The Israeli/Dutch cellist Timora Rosler took first prize at the 1996 "Stuttgart International Cello Competition". In 1997 she won the "Vriendenkrans of the Royal Concertgebouw" in Amsterdam. She was praised by the jury as follows: "Timora Rosler has a capturing talent, intimate expressiveness, virtuosity and a natural feeling for the composition … Her interpretation is exceptionally fascinating".