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Track(s) taken from CDA67755

Cello Sonata in D major, Op 102 No 2

composer
early August 1815; dedicated to Countess Anna Maria Erdödy; published in 1817 by Simrock and in 1819 by Artaria

Daniel Müller-Schott (cello), Angela Hewitt (piano)
Recording details: March 2009
Jesus-Christus-Kirche, Berlin, Germany
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: March 2010
Total duration: 22 minutes 2 seconds

Cover artwork: Pietrasanta P07.44 (2007) by Caio Fonseca (b1959)
Reproduced by kind permission of the artist / www.caiofonseca.com
 
1
Allegro con brio  [6'53]
2
3

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Reviews

'These performances are strongly characterised, clearly etched and full of life and drama. The account of the D major Sonata's great, sombre Adagio is powerfully eloquent … with Müller-Schott demonstrating a breathtaking control of subtle changes in tone and dynamic level' (Gramophone)

'Once again Müller-Schott and Hewitt deliver strong and committed performances characterised by great attention to detail and wonderful musical interaction. The three sets of variations are projected with charm, elegance and virtuosity' (BBC Music Magazine)

'Absorbing interpretations, where the two players instinctively click and the music comes across with vibrancy, sensitivity and a galvanising unanimity of purpose' (The Daily Telegraph)

'They project the D major [D major sonata] middle section as the ray of light it is. Then they excel in projecting the final fugue clearly, while giving free rein to its sharp cross-accents and registral leaps. Here, Müller-Schott brings a steely intensity to his high passages and an effective growling colour to those down below, while Hewitt deploys her Bachian expertise to advantage, yet conveys Beethoven's counterpoint as pianistically spikier and more rebarbative' (International Record Review)

'Müller-Schott is certainly one of the finest cellists before the public today, and this is his core native repertory. The performances have the winning freshness of rediscovery' (The Sunday Times)
The first movement of the D major Sonata shows evidence of the new possibilities available in the cello writing with a singing, dolce first subject. Despite the Adagio being the first real slow movement of these Sonatas, the main melody is a rather restrained affair, with short rests at the end of each two-bar phrase – the smoother melodic writing is reserved for the middle section of the ABA structure. The finale follows without a break, though not before tentative attempts at the main subject forestall the arrival of the movement proper – a fully-fledged fugue. In fact this is the first occasion where Beethoven uses a fugue as the basis of a movement (instead of merely incorporating fugal writing into another form), and is thus also the first example of the contrapuntal thinking that was to dominate his final years.

from notes by Matthew Rye © 1996

Le premier mouvement de la sonate en ré majeur illustre les nouvelles possibilités de l’écriture violoncellistique, avec un premier thème chantant, dolce. Bien que l’Adagio soit le véritable premier mouvement de ces sonates, la mélodie principale est plutôt contenue, avec de courtes pauses à la fin de chaque phrase de deux mesures – une écriture mélodique plus fluide étant réservée à la section centrale de la structure ABA. Le finale suit immédiatement, sans qu’une seule tentative préliminaire du thème principal vienne anticiper l’arrivée du mouvement en tant que tel – une fugue à part entière. Pour la première fois, Beethoven prend pour base du mouvement une fugue (au lieu de simplement incorporer une écriture fuguée dans une autre forme). Pour la première fois aussi, il nous offre un exemple de la pensée contrapuntique qui allait dominer ses dernières années.

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

Der erste Satz der Sonate in D-Dur deutet jene neuen Möglichkeiten an, die die Komposition für Cello durch ein singendes erstes dolce Thema bereicherten. Obwohl in diesen Sonaten das Adagio praktisch den ersten richtigen langsamen Satz darstellt, verbleibt die Hauptmelodie noch verhalten, mit kurzen Pausen am Ende jeder zweitaktigen Phrase – die glattere und sanftere melodische Komposition wird dem mittleren Abschnitt der ABA-Struktur vorbehalten. Das Finale setzt unmittelbar ein, jedoch nicht, bevor zögernde Versuche des Hauptthemas der Ankündigung des eigentlichen Satzes zuvorkommen – mit einer ausgewachsenen Fuge. Tatsächlich bedient sich Beethoven hier erstmals einer Fuge als Satzbasis (anstatt andere fugenähnliche Kompositionstechniken anzuwenden), und das Werk ist somit das erste, das von jenen kontrapunktischen Überlegungen geprägt ist, die schließlich die Werke seiner letzten Jahre dominieren sollten.

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

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