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Track(s) taken from CDA67633

Cello Sonata in G minor, Op 5 No 2

composer
1796; Berlin; first performed by Jean-Louis Duport and Beethoven in early 1797 at the court of Friedrich Wilhelm II, in whose honour it was written; published by Artaria in 1797

Daniel Müller-Schott (cello), Angela Hewitt (piano)
Recording details: January 2008
Jesus-Christus-Kirche, Berlin, Germany
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: November 2008
Total duration: 25 minutes 57 seconds

Cover artwork: Pietrasanta C07.26 (2007 Mixed media on canvas) by Caio Fonseca (b1959)
Reproduced by kind permission of the artist / www.caiofonseca.com
 
1
2
3
Rondo: Allegro  [9'02]

Other recordings available for download

Melvyn Tan (fortepiano), Anthony Pleeth (cello)
Steven Isserlis (cello), Robert Levin (fortepiano)

Reviews

'Daniel Müller-Schott and Angela Hewitt give Beethoven's first three cello sonatas a nimble and colourful outing … their duo engagement is compelling and their repertoire of gestures … is exceedingly broad … the recorded sound is beautifully balanced' (Gramophone)

'The success of this duo partnership is very evident in this first volume of Daniel Müller-Schott and Angela Hewitt's Beethoven cycle. They respond with imagination and flexibility to Beethoven's mercurial changes of mood, one moment tender and reflective, then bold and dynamic … a first class release' (BBC Music Magazine)

'Müller-Schott's playing is strong and vibrant … Hewitt brings her characteristic digital dexterity and sparkling articulation to bear … the performances certainly make one look forward to their second disc' (International Record Review)

'In Hyperion's first release in a Beethoven cello sonata cycle, Daniel Müller-Schott's cello seems to hug you like a friendly bear … the disc collects the two Op 5 sonatas and the magnificent Op 69; cherish it most for the players' teasing exchanges, for Hewitt's nimble fingers and Müller-Schott's golden warmth' (The Times)

'The dynamic duo find overwhelming intensity in this music, in a performance packed with detail and emotional gravitas' (Classic FM Magazine)

'Here we are then, at the launch of a wonderful musical adventure, with the outstanding and exquisitely soulful young cellist Danel Müller-Schott, partnered by the wondrous Angela Hewitt at her most sparkling, pristine, warm and flawlessly penetrating in very superior accounts of the two Opus 5 sonatas and the Opus 69 in A major … a major collaboration' (The Herald)

'Müller-Schott has a superbly eloquent and deliciously burnished tone, as nicely done as any I have ever heard … Angela Hewitt proves the perfect partner in this music with a sensitive and leading-when-necessary role that makes for a grand coupling. These might be the premiere Beethoven Cello Sonatas recordings when they are completed—this one is that good' (Audiophile Audition, USA)

'The whole recital is characterised by exquisite phrasing, clean lines and, best of all, an expressiveness that borders on the sublime' (bbc.co.uk)
The second Sonata of Op 5 was the subject of an amusing incident in the spring of 1799. Domenico Dragonetti, as legend has it the greatest double bass player in history, was passing through Vienna on his way from Venice to London. He soon met Beethoven, as an English friend, Samuel Appleby, recalled:

Beethoven had been told that his new friend could execute violoncello music upon his huge instrument, and one morning, when Dragonetti called at his room, he expressed his desire to hear a sonata. The contrabass was sent for, and the Sonata, No 2 of Op 5, was selected. Beethoven played his part, with his eyes immovably fixed upon his companion, and, in the finale, where the arpeggios occur, was so delighted and excited that at the close he sprang up and threw his arms around both player and instrument.

Like the First Sonata the G minor work has a slow introduction, which here is even more expansive, amounting to an expressive and often dramatic fantasia. The first Allegro is an example of Beethoven’s predilection for including a wide range of diverse material within one movement. The restrained opening theme is soon interrupted by a forte idea accompanied by pounding quaver triplets which are only brought to a halt with the lead-in to the more song-like second subject. The finale is again a rondo, this time in 2/4 time and in G major, with a variety of lively rhythmic patterning and much rapid figuration in demi-semiquavers, culminating in a hectic coda.

from notes by Matthew Rye © 1996

La seconde sonate de l’opus 5 fut l’objet d’un incident amusant. Au printemps 1799, Domenico Dragonetti, que la légende considère comme le plus grand contrebassiste de l’histoire, se rendit de Venise à Londres, via Vienne, où il rencontra bientôt Beethoven, comme le rapporta un ami anglais, Samuel Appleby:

Beethoven avait appris que son nouvel ami pouvait exécuter de la musique pour violoncelle sur son énorme instrument. La contrebasse fut envoyée chercher, et la sonate no2 de l’opus 5 choisie. Beethoven joua sa partie, les yeux immuablement fixés sur son compagnon, jusqu’au finale et à l’apparition des arpèges. Là, il fut si enchanté et excité qu’il se leva d’un bond et lança ses bras autour du joueur et de l’instrument.
Mo

extrait des notes rédigées par Matthew Rye © 1996
Français: Hypérion

Die zweite Sonate des Op 5 war im Frühjahr 1799 Gegenstand eines amüsanten Zwischenfalles. Domenico Dragonetti, den die Legende als besten Kontrabaßisten der Geschichte wissen will, hatte seine Reiseroute von Venedig nach London über Wien gelegt. Dort traf er schon bald mit Beethoven zusammen, wie sich ein englischer Freund, Samuel Appleby, erinnert:

Man hatte Beethoven erzählt, sein neuer Freund könne auf seinem großen Instrument Musik für das Violoncello spielen, und eines Morgens, als Dragonetti ihn in seinem Zimmer besuchte, äußerte er den Wunsch, eine Sonate zu hören. Es wurde nach dem Kontrabaß geschickt und die Sonate Nr. 2 des Op 5 gewählt. Während er seinen Teil der Musik spielte, wendete Beethoven nicht einen Moment die Augen von seinem musikalischen Kompagnon ab und war von den Arpeggios des Finales so begeistert und erregt, daß er zum Schluß aufsprang und seine Arme um sowohl Musiker als auch Instrument warf.

Wie die erste Sonate wird das Werk in g-Moll langsam eingeführt und hier sogar noch expansiver gestaltet, indem schließlich eine ausdrucksvolle und zuweilen dramatische Fantasie entwickelt wird. Das erste Allegro ist ein Beispiel von Beethovens Vorliebe, in einen Satz eine große Palette von unterschiedlichem Material einzubauen. Das verhaltene Thema der Eröffnung wird schon bald von einer mit forte bezeichneten Idee unterbrochen und von dröhnenden Achtelnoten-Triolen begleitet, denen erst beim Übergang zum zweiten, liederähnlichen Thema Einhalt geboten wird. Wiederum erscheint das Finale in Gestalt eines Rondos, dieses Mal im Zweivierteltakt und G-Dur, mit einer Vielfalt an lebhaft rhythmischen Strukturen und manch schneller Figuration in Zweiunddreißigstelnoten, bis es schließlich in einer hektischen Coda seinen Höhepunkt erreicht.

aus dem Begleittext von Matthew Rye © 1996
Deutsch: Ute Mansfeldt

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