Beethoven - Music for Cello and Piano, Vol.3 - Naxos: 8555787 - CD or download

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Maria Kliegel and Nina Tichman conclude their three-volume Beethoven exploration with finetoned, vigorous performances of the last two sonatas. Most sets of the cello- and-piano music fit onto... — Gramophone Classical Music Guide, 2010 More…

Release Date: 30th Aug 2004
Catalogue No: 8555787
Label: Naxos
Length: 58 minutes

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Beethoven: Cello Sonata No. 4 in C major, Op. 102 No. 1

Work length14:49

$4.00

$5.20

Maria Kliegel (cello), Nina Tichman (piano)
Recorded: 24 - 26 February 2003
Recording Venue: Clara-Wieck-Auditorium, Sandhausen, Germany

I. Andante - Allegro vivace

Track length7:26

$2.00

$2.60

II. Adagio - Tempo d'Andante

Track length3:08

$1.00

$1.30

III. Allegro vivace

Track length4:15

$1.00

$1.30

Beethoven: Cello Sonata No. 5 in D major, Op. 102 No. 2

Work length18:28

$4.00

$5.20

Maria Kliegel (cello), Nina Tichman (piano)
Recorded: 24 - 26 February 2003
Recording Venue: Clara-Wieck-Auditorium, Sandhausen, Germany

I. Allegro con brio

Track length6:09

$1.00

$1.30

II. Adagio con molto sentimento d'affetto

Track length7:58

$2.00

$2.60

III. Allegro fugato

Track length4:21

$1.00

$1.30

Beethoven: Variations (12) on "See the conquering hero comes" for Cello and Piano, WoO 45

Work length12:20

$13.00

$16.90

Maria Kliegel (cello), Nina Tichman (piano)
Recorded: 24 - 26 February 2003
Recording Venue: Clara-Wieck-Auditorium, Sandhausen, Germany

Theme: Allegretto

Track length0:40

$1.00

$1.30

Variation I

Track length0:35

$1.00

$1.30

Variation II

Track length0:40

$1.00

$1.30

Varaition III

Track length0:38

$1.00

$1.30

Variation IV

Track length0:44

$1.00

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Variation V

Track length0:43

$1.00

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Variation VI

Track length0:43

$1.00

$1.30

Variation VII

Track length0:39

$1.00

$1.30

Variation VIII

Track length0:45

$1.00

$1.30

Variation IX

Track length0:46

$1.00

$1.30

Variation X: Allegro

Track length0:43

$1.00

$1.30

Variation XI: Adagio

Track length3:34

$1.00

$1.30

Variation XII: Allegro

Track length1:10

$1.00

$1.30

Beethoven: Duet for Viola and Cello in E flat major, WoO 32 'Eyeglass'

Work length12:59

$3.00

$3.90

Maria Kliegel (cello), Tabea Zimmermann (viola)
Recorded: 24 - 26 February 2003 & 21 March 2004
Recording Venue: Clara-Wieck-Auditorium, Sandhausen, Germany

I. Allegro

Track length8:38

$2.00

$2.60

II. Minuetto

Track length4:21

$1.00

$1.30

Reviews
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Reviews

2010

Maria Kliegel and Nina Tichman conclude their three-volume Beethoven exploration with finetoned, vigorous performances of the last two sonatas. Most sets of the cello- and-piano music fit onto two CDs; Naxos's more liberal allowance permits the inclusion of extra items, in this case the Duo, with 'Two Obbligato Eyeglasses', for viola and cello; not, perhaps, one of the young Beethoven's finest achievements, but most imaginatively written for the two instruments.
Tabea Zimmermann's spirited playing prompts regret that Beethoven never wrote a concertante work for viola.
In the sonatas and variations Tichman and Kliegel make a well-matched pair. They favour firm, rounded tone and strong, expressive projection, and are equally convincing in the passionate A minor Allegro that forms the second part of the Fourth Sonata's first movement, and in the preceding Andante, where warm sound and soaring lines perfectly express the music's romantic spirit. What's missing, perhaps, is a range of tone colour that can suggest mystery or solemnity. And in the variations, Kliegel is inclined to phrase in a smooth, somewhat bland way, where a more articulated, 18th-century style would be more in order. The passages in dialogue between the instruments, however, are most beautifully realised.
Turning to András Schiff and Miklós Perényi, the first impression is of a much lighter sound.
The piano, indeed, might seem quite brittle, if it weren't for Schiff's beautiful cantabile touch and his exceptional ability to balance chords – Beethoven's gruffest harmonies form part of a texture that's richly coloured and always clear. It's the kind of thing we normally only experience with the best period-instrument players.
In contrast to the finely matched pairing of Tichman and Kliegel, Perényi and Schiff appear as distinct, contrasting characters – Perényi suave and elegant, and though demonstrating a wide expressive range, always staying within the boundaries of what is polished and unexaggerated, Schiff much more volatile and extreme. In the high-spirited finales of the first two sonatas you can easily imagine the tempestuous young composer performing before the King of Prussia.
But this contrast of styles doesn't result in unbalanced performances. There are, maybe, one or two places (in the Third Sonata's first movement, for example) where where you might welcome more intensity from Perényi, but overall his playing has all the vigour and commitment one could wish for. And where it's necessary to achieve perfect unity, the two come together in the most inspiring way. The most remarkable instance of this is Op 102's fugal finale, a movement that's often been perceived as impressive rather than attractive, but these two artists match articulation, note-lengths, volume and tone colour in such a way as to make the music seem beautiful as well as uplifting. An outstanding set.

Beethoven - Music for Cello and Piano, Vol.3

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