CHOPIN: Cello Sonata with Trio; Nocturne in C-sharp minor / with RACHMANINOFF: Cello Sonata; Vocalise / BRAHMS: Cello Sonata 2; RACHMANINOFF: Sonata; BACH: Chaconne

Abstract

To make things even more confusing, we have a release this month titled Bassic Cello Notes that includes a quite competitive interpretation of the Rachmaninoff Sonata played on the double bass in cello register with a really minimal rescoring of a few passages to make it fit the bass better.

CHOPIN: Cello Sonata with Trio; Nocturne in C-sharp minor

Trio Portici-Pavane 7512-68 minutes

with RACHMANINOFF: Cello Sonata; Vocalise

Alexander Kniazev; Nikolai Lugansky, p

Warner 63946-73 minutes

BRAHMS: Cello Sonata 2;

RACHMANINOFF: Sonata; BACH: Chaconne

Catalin Rotaru, db; Thomas Landschoot, vc; Baruch Meir, Andrew Campbell, p

Summit 474-75 minutes

Here's variety for you! Recordings of the Chopin Trio are not exactly thick on the ground. This is an early work but a beautiful one. The only relatively recent recording joining the Trio and the Sonata that I know is by Leila Josefowicz, Carter Brey, and Garrick Ohlsson (Arabesque 6763, May/June 2003). That has a fine balance of virtuosity and sentiment. There is another from 10 years ago by Gabor Takacs Nagy, Peter Szabo, and Denes Varjon (Hungaroton 31651, July/Aug 1997). And there is an even older but highly distinguished one with Yo-yo Ma on Sony 53112.

This new one is quite lovely in its way. It is a real chamber music performance where everyone gives way to everyone else. This goes for the Cello Sonata as well as the Trio. Effective as this is, the concept is carried so far that one wonders if Chopin would have approved of such a self-effacing attitude. I miss the brilliance and argumentative aspect of certain passages.

For that side of the composer, try the Russian players on Warner. I have seldom heard a more assertive approach to either the Chopin or the Rachmaninoff. The finales of both works are given nervous, forward-moving readings that are a bit unrelenting, with less contrast than usual. That is not the main character of these readings. In general, there is a lot of variety and lots of soft playing as well as a good deal of aggression. Other recordings of these two sonatas that I have kept on my shelves are by Alexandre Dmitriev and Alexander Paley (Accord 4767188, Sept/Oct 1995) and Jamie Wallon and Charles Owen (SOMM 26, May/ June, 2006). I find either of those recordings more satisfying overall than the new one, though Kniazev and Lugansky are good players with an interesting approach to the music. I just find their concept somewhat limited compared to the emotional breadth of the others.

To make things even more confusing, we have a release this month titled Bassic Cello Notes that includes a quite competitive interpretation of the Rachmaninoff Sonata played on the double bass in cello register with a really minimal rescoring of a few passages to make it fit the bass better. There is also a Brahms Eminor Sonata that, as far as I can tell, doesn't alter a note from the original, and a free but musically quite convincing interpretation of the famous Bach violin chaconne arranged for cello and bass alone. This is not a case for the old saw about how amazing it is that it is done at all, let alone done well. These are much more than just acceptable interpretations; they have real personality, sensitive phrasing, and are played not only with accuracy, but with smooth and musical phrasing. Cellists could learn something from the suave slides and musical shape Rotaru finds in these works. These are relatively gentle interpretations, as if he is saying "Don't be afraid of this big instrument. I really love you and won't hurt the music." Still, there is strength and a warm passion here. Rotaru is responsible for the Rachmaninoff arrangement and the Bach transcription. More power to him!

D MOORE