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Ludwig van Beethoven: Cello Sonatas Op. 69 & Op. 102

by Michal Kaňka, Ivan Klánský

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1.
Cello Sonata No. 3 in A Major, Op. 69 I. Allegro ma non tanto 13:04
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2.
Cello Sonata No. 3 in A Major, Op. 69 II. Scherzo. Allegro molto 05:00
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3.
Cello Sonata No. 3 in A Major, Op. 69 III. Adagio cantabile - Allegro vivace 09:09
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4.
Cello Sonata No. 4 in C Major, Op. 102 No. 1 I. Andante - Allegro vivace 08:19
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5.
Cello Sonata No. 4 in C Major, Op. 102 No. 1 II. Adagio - Tempo d’Andante - Allegro vivace 07:23
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6.
Cello Sonata No. 5 in D Major, Op. 102 No. 2 I. Allegro con brio 06:51
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7.
Cello Sonata No. 5 in D Major, Op. 102 No. 2 II. Adagio con molto sentimento d’affetto - attacca 08:07
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8.
Cello Sonata No. 5 in D Major, Op. 102 No. 2 III. Allegro - Allegro fugato 04:15
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about

Eight years after the publication of his first cello sonatas (Op. 5), Beethoven embarked on the writing of his Third Sonata. This luminous Sonata in A major Op. 69 is a pinnacle of Beethoven’s chamber music, then in full possession of his faculties. The first movement, written in sonata form, is the fullest and most characteristic. The slow movement is very short and shows a very ‘Beethovenian character’ (original syncopations, trio based on a theme reduced to two notes, 'vibrato' effects required of the keyboard, unprecedented feeling of introversion), the third ends in a somewhat decorative style. Typical of the ‘second manner’ of a Beethoven in full possession of his faculties, it was composed in the exceptional period which saw the birth of the Coriolan Overture, the Fifth Symphony and the Pastoral Symphony. The two Sonata Op. 102 were composed in 1815 and published in 1817.

These two masterpieces belong to the composer’s last ‘manner’, a period of illness and difficulties of all kinds that Beethoven was going through at the time. These sonatas astonish by their spareness at a time when the duo concertante, virtuoso and fanciful was fashionable in France and Italy; Beethoven freed himself more and more from classical forms by marking the mention ‘Freie Sonata’ (Free Sonata) at the head of his Sonata in C major. The last sonata, No. 5, is rough and prefigures the whole modern history of the Sonata; the two partners, in equal shares, dialogue in complete independence, and at times, foreshadow the writing style of the 20th century when they soliloquize, almost ignoring each other. These last two sonatas strike by the complexity of their writing, but above all by their visionary character.

Awards: Choc by Le Monde de la Musique, 10 by Répertoire, 5 by Diapason, Recommended by Classica"

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250172

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released May 1, 2002

Michal Kaňka - cello
Ivan Klánský - piano

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Michal Kanka Paris, France

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