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Track(s) taken from CDA67981/2

Variations in E flat major on 'Bei Männern, welche Liebe fühlen' from Mozart's Die Zauberflöte, WoO46

composer
1801

Steven Isserlis (cello), Robert Levin (fortepiano)
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Recording details: December 2012
Henry Wood Hall, London, United Kingdom
Produced by Jens Braun
Engineered by Simon Eadon
Release date: January 2014
Total duration: 8 minutes 54 seconds

Cover artwork: Photograph of cello scroll by Christopher Martyn
www.finelystrung.com
 
1

Other recordings available for download

Daniel Müller-Schott (cello), Angela Hewitt (piano)
Melvyn Tan (fortepiano), Anthony Pleeth (cello)

Reviews

'Isserlis has the theme but Levin is no mere accompanist, fastidious in his role as a partner yet one who never overwhelms the cello, even in the chords and roulades during a brief spell of agitation towards the end of this introduction … try Allegro ma non tanto, Op 69 … we're back to expressive flexibility, and we stay with individuals who speak as corporate souls. Tenderness to turbulence, the frames of mind or spirit alter and are neither ignored nor glossed over. Instead they are profoundly felt and candidly declared' (Gramophone)» More

'This set contains some of the finest Beethoven performances you are likely to hear. Steven Isserlis is on blazing form: every note lives, every movement is characterised with infectious relish; his range is breathtaking. The ensemble with Robert Levin is dynamic, intimate, often electric. There’s a sense of two powerful minds intensely engaged in Beethoven's dialogue … at its best, it’s unbeatable: highlights include a crazily impetuous finale to the Sonata Op 5 No. 1; Sonata Op 5 No 2’s limping introduction; a radiant opening to Op 69 which ends in an Allegro vivace of festive fire; the dreamy wildness of Op 102 No 1's ‘improvised’ slow movement and a Op 102 No 2 of tragic violence' (BBC Music Magazine)» More
PERFORMANCE
RECORDING

'This remarkable set contains probably the most significant recordings of these masterpieces ever issued … Steven Isserlis is not one to force his personality upon everything he plays, with the result that all such music has a similar patina of expression, and in the Op. 5 Sonatas he plavs a perfect role to Levin’s more significant part, yet at all times he infuses the cello line with character and a full tone which makes a perfect complement to the inherent musical argument … These great masterpieces receive splendid accounts from these masterly musicians and the three lighter sets of variations find Beethoven and his instrumentalists in less profound mood. They are most winningly performed … The recorded quality and instrumental balance are first-class, as we have invariably come to expect from this company' (International Record Review)» More

'Beethoven's five cello sonatas … sum up a dazzling career. In the hands of Steven Isserlis, a great champion of these pieces, here accompanied on fortepiano by Robert Levin, they jump off the musical history page with an irresistible energy and then dance around the room … Levin's fortepiano playing lends frankness, high colour and tenderness by turn' (The Independent on Sunday)» More

'The music drama deserves the duo's strong emotions, firm accenting and virile leaps. Levin supplies his own muscular music-making … there's hushed delicacy too, just as there is in Isserlis's cello when Beethoven chooses to relax. Try, for example, the gravely affecting adagio of Op 102 No 2' (The Times)» More

'Isserlis brings great freshness and vigour to Beethoven’s complete works for cello and keyboard. Levin's fortepiano is an ideal match, with a sinuous, intimate sound well captured by Hyperion's microphones. Recommended' (Classical Music)

'No matter how familiar you are with this music, there are tens of fine recordings already, you need this one, and it would be a yardstick starting-point. Isserlis and Levin’s performances represent pure musical enjoyment and revelations (surprises and shocks) from start to finish' (ClassicalSource.com)» More

'Musicien remarquable et savant, fin connaisseur des classiques viennois, interprète rompu aux instruments d'époque, Robert Levin est-il pour autant le partenaire idéal de Steven Isserlis … sommet d'inspiration, la Sonate op.69 (1807-1808) bénéficie d'une lecture nerveuse, concentrée, d'une belle musicalité, qui ne le cède en énergie, en âpreté, en modelé qu'aux plus grandes versions sur instruments modernes' (Diapason, France)» More
PERFORMANCE
RECORDING

'Robert Levin et Steven Isserlis parviennent en effet dans les Sonates op. 5 à un équilibre sonore naturel leur permettant d’associer la verve classique et la liberté pré-romantique présentes dans ces deux partitions de jeunesse. On perçoit également parfaitement comme le style beethovénien s’affirme dans la Sonate op. 69, comme l’écriture se dessine et se structure, en une véritable fête permanente et perpétuellement attrayante. Il ne faudrait toutefois pas penser que l’on assiste à une conférence esthétique : au contraire, cette justesse de propos doit sa réussite à l’enthousiasme des deux musiciens qui parviennent brillamment à dégager de chaque mesure une âme musicale convaincante, à l’image de la Sonate op. 102 no 1' (Classica, France)

The set of variations on the duet ‘Bei Männern, welche Liebe fühlen’ from Die Zauberflöte dates from 1801. Here the music is already laid out in such a way that the two instruments are in essence equal partners. It is especially delightful to follow the dialogue of the duet, with the piano in the role of Pamina and the cello answering it as Papageno. In the ensuing variations Beethoven once more demonstrates his gift for structural clarity, producing extremely attractive exchanges which combine the instruments in both light-hearted play and dramatic rivalry. A strong contrast is provided by the mysterious minor-key variation, which presents the cello in its low register but conserves transparency of texture thanks to the sensitive piano-writing. In the coda to the final variation Beethoven springs the surprise of letting the opening theme blossom anew before the brilliant conclusion on two imperious chords. Here is yet more evidence of the mastery Beethoven deployed in his outstanding contribution to the cello repertoire.

from notes by Daniel Müller-Schott © 2010
English: Charles Johnston

Les variations sur le duo «Bei Männern, welche Liebe fühlen» de La flûte enchantée, datent de 1801. La musique y est déjà conçue d’une telle façon que les deux instruments sont par essence des partenaires égaux. Il est particulièrement agréable de suivre le dialogue du duo, avec le piano dans le rôle de Pamina et le violoncelle qui lui répond en incarnant Papageno. Dans les variations suivantes, Beethoven fait encore la preuve de son don de clarté structurelle, en réalisant des échanges très attrayants qui allient les instruments à la fois dans un jeu enjoué et dans une certaine rivalité dramatique. La mystérieuse variation dans le mode mineur apporte un fort contraste, avec le violoncelle dans son registre grave, tout en conservant la transparence de la texture grâce à une écriture pianistique sensible. Dans la coda de la dernière variation, Beethoven nous fait la surprise de laisser le thème initial jaillir de nouveau avant la brillante conclusion sur deux accords impérieux. Voilà encore une preuve de la maîtrise de Beethoven déployée dans cette remarquable contribution au répertoire du violoncelle.

extrait des notes rédigées par Daniel Müller-Schott © 2010
Français: Marie-Stella Pâris

Die Variationsreihen aus dem Jahre 1801 über das Duett „Bei Männern, welche Liebe fühlen“ aus Mozarts Zauberflöte sind schon in ihrer Anlage für beide Instrumente im Wesentlichen gleichberechtigt. Besonders reizvoll ist es, den Dialog des Duetts, das Klavier in der Rolle Paminas und das Cello antwortend als Papageno zu verfolgen. In den folgenden Variationen stellt Beethoven noch einmal mehr seine Fähigkeit zur strukturellen Klarheit unter Beweis. Es entstehen hier äußerst reizvolle Dialoge, die beide Instrumenten in heiterer Spiellaune als auch in dramatischem Wettstreit miteinander führen. Als großer Kontrast wirkt dagegen die geheimnisvolle Moll-Variation, die das Cello in seiner tiefen Lage, aber doch sehr transparent durch den sensibel durchhörbaren Klavierpart zeigt. In der Coda der letzten Variation lässt Beethoven noch einmal überraschend das Anfangsthema aufblühen, ehe das Werk brillant in zwei herrischen Akkorden abgeschlossen wird. Alle Meisterschaft wird hier nochmals offenbar, die Ludwig van Beethoven für seinen großen Beitrag zur Celloliteratur einzusetzen wusste.

aus dem Begleittext von Daniel Müller-Schott © 2010

Other albums featuring this work

Beethoven: Cello Sonatas, Vol. 2
CDA67755
Beethoven: Complete Cello Music
CDD220042CDs Dyad (2 for the price of 1) — Archive Service
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