Claudius Herrmann, Saiko Sasaki - Herzogenberg: Cello Sonatas 1-3 (2001)

Heinrich von Herzogenberg (1843-1900) is the best of the Brahms disciples. Not only does he sound like Brahms, but he comes as close to writing at the quality of Brahms as any other second-tier composer I’ve heard. He was himself a close friend of Brahms, who was reticent about expressing praise for Herzogenberg’s works. I’ve read some speculation that Brahms was envious of Herzogenberg’s abilities, and after hearing his piano trios and these cello sonatas, I can believe it.
R.H.R. Silvetrust, the editor of the Chamber Music Journal said this about Herzogenberg's cello sonatas: "[they] are every bit as good, if not better, than Brahms'. In my opinion, they play better, the balance is better, the piano does not drown out the cello and the writing for the cello is more cellistic and grateful to play.” The Cello Sonata No. 1 in A minor (1885) is an extraordinary masterwork that deserves a place in the standard repertoire. It immediately grabs the listener’s attention with its stabbing chords of defiance and deeply moving thematic material, exhibiting both virility and tenderness. Every bar is inspired and energized with serious purpose. In the second movement, the mood darkens and the sonorities are intense; the cello is given beautiful expressive lines fit for Beethoven. The finale is not a frivolous rondo, but one of great nobility and drama, buffeted by rhythmic drive and superb cello writing. This is one of the finest cello sonatas I’ve heard in recent years.
Herzogenberg pours the same degree of creativity into the Cello Sonata No. 2 in D major (1888). The opening movement basks in the style of Brahms with its serious noble themes, thick piano chords, and expressive power. While the scherzo is rudimentary—although quite melodic—the slow movement is particularly good, brimming with passionate fervor and lyricism. The finale is lighter and yet still maintains the kind of intensity and vigor typical of a Brahms rondo. I think the third Cello Sonata in E-flat major (1895) is the lesser of the group. It is certainly warmer and more cheerful. The first movement showcases classical poise and refinement in a generally sunny mood while the two inner movements are reflective and tender. Both have enough melodic qualities to encourage relistening. The finale is the outstanding movement because of its sheer tunefulness. It opens with joyful smiles and gradually becomes dark and somber, expressed by extremely low bass registers on the cello; an interesting range of emotions here and it works.
Bottom line: These are stellar cello sonatas by any measure. I struggle to think of any composers in the circle of Brahms who produced better quality cello music. The A minor sonata alone is a ravishing masterpiece and a must-hear. All chamber enthusiasts and lovers of dignified and serious late Romanticism will like this.