Ralph Kirshbaum and Shai Wosner - Beethoven: Complete Sonatas & Variations for Cello & Piano (2016) [Hi-Res]

Tracklist
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CD1
01. Cello Sonata No. 1, Op. 5 No. 1: I. Adagio sostenuto
02. Cello Sonata No. 1, Op. 5 No. 1: II. Rondo-Allegro Vvace
03. 12 Variations on ‘Ein Mädchen oder Weibchen’ from Mozart’s 'Die Zauberflöte' Op. 66
04. Cello Sonata No. 2, Op. 5 No. 2: I. Adagio sostenuto ed espressivo-II. Allegro molto, più tosto presto
05. Cello Sonata No. 2, Op. 5 No. 2: III. Rondo-Allegro
06. 12 Variations on ‘See the conqu’ring hero comes’ from Handel’s 'Judas Maccabaeus' WoO45

CD2
01. Cello Sonata No. 3, Op. 69: I. Allegro, ma non tanto
02. Cello Sonata No. 3, Op. 69: II. Scherzo. Allegro molto
03. Cello Sonata No. 3, Op. 69: III. Adagio cantabile-Allegro vivace
04. 7 Variations on ‘Bei Männern, welche 9.29 Liebe fühlen’ from Mozart’s 'Die Zauberflöte' WoO46
05. Cello Sonata No. 4, Op. 102 No. 1: I. Andante – Allegro vivace
06. Cello Sonata No. 4, Op. 102 No. 1: II. Adagio – Tempo d’andante – Allegro vivace
07. Cello Sonata No. 5 in D Major Op. 102/2: I. Allegro con brio
08. Cello Sonata No. 5 in D Major Op. 102/2: II. Adagio con molto sentimento d’affetto
09. Cello Sonata No. 5 in D Major Op. 102/2: III. Allegro fugato


Beethoven’s sonatas for cello and piano span his entire creative life. The Op.5 sonatas date from the late 1790s and therefore are products of his early years as a virtuoso pianist and aspiring composer in Vienna, where he had settled after leaving his native Bonn.

The 3rd sonata Op.69 dates from the composer’s ‘middle period’, and is contemporary with the 4th and 5th Symphonies and the Razumovsky String Quartets. It is one of his greatest chamber compositions, a work of great beauty, full of surprises and seemingly limitless inventiveness.

The two sonatas of Op102 were composed at the beginning of Beethoven’s visionary ‘late period’ and rub shoulders with the last violin sonata, the piano sonatas Nos.27, 28 and 29 ’Hammerklavier’. Beethoven’s later fascination with the baroque fugue surfaces not only at the end of the ‘Hammerklavier’ but also in the finale of the 5th sonata, reaching its apex in the Grosse Fugue’ Op.133 a few years later.

These performances were recorded immediately after live performances at Wigmore Hall, the culmination of a tour of all 5 Sonatas and the Variations across the USA and the UK in conjunction with Texas-born, Ralph Kirschbaum's 70th birthday.

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