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Chopin: Cello Sonata; Polonaise / Schumann: Adagio And Allegro
 
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Chopin: Cello Sonata; Polonaise / Schumann: Adagio And Allegro

23 Nov 1989 | Format: MP3

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Song Title
Time
Popularity  
30
1
15:17
30
2
4:50
30
3
3:42
30
4
5:29
30
5
8:17
30
6
8:21


Product details

  • Original Release Date: 27 Oct 1989
  • Release Date: 27 Oct 1989
  • Label: Deutsche Grammophon (DG)
  • Copyright: (C) 1989 Deutsche Grammophon GmbH, Hamburg
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 45:56
  • Genres:
  • ASIN: B004D0WAOC
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 124,049 in MP3 Albums (See Top 100 in MP3 Albums)

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13 of 13 people found the following review helpful By DAVID BRYSON TOP 500 REVIEWERVINE VOICE on 25 Jan 2005
Format: Audio CD
This is a fine specimen of what duo-playing can and should be. My pleasure in this record is in no small measure down to my enthusiasm for these particular works, among the most attractive and significant products of early romanticism. Chopin's cello sonata seems to me an even better work than his piano sonatas. None other than Tovey gives it high marks for construction, even forgetting for once to include his near-invariable reference to Beethoven as the benchmark in all such matters. Chopin had written for the cello in his early years, and the opus 3 introduction-and-polonaise is included here, but the sonata has a sheer self-assurance about that sounds as if he had been composing for it all his life. There is even a full-scale slow movement - not long but not a miniature either - and that was something that Beethoven had avoided, no doubt because the cello of all instruments was most liable to show up the feeble sustaining-power of the pianos of his time. I recently heard a recital on a piano made for Clara Schumann by her father's firm, and matters had obviously improved since Beethoven's time - I was surprised by the volume and sustained tone it was capable of - but even Brahms was still cautious about slow movements in his cello sonatas. In the first there is none, in the second he has the cello playing largely pizzicato. Chopin adopts the simplest and most natural solution, a lyric melody on the cello with the piano mainly reduced to accompaniment.
What I love about this record is the sheer full-bloodedness of the playing. The recorded balance is really very good, much better than on the notable disc of the Brahms sonatas that Rostropovich did with Serkin, and the sound of the two instruments has the quality that such playing deserves and demands.
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9 of 10 people found the following review helpful By "mbroadhead3" on 7 July 2003
Format: Audio CD
Chopin's cello sonata is an intriguing piece. Written at the end of the composer's short life, it displays a complete mastery of both the form and the character of the cello, despite Chopin having written almost exclusively for piano since his student days. The sonata has a sunset feel to it, and could easily become sentimental in less accomplished hands. But Argerich and Rostropovitch never let proceedings become maudlin, leaving the listener with a lingering wistfulness.
The shorter Chopin piece and the Schuman are generous makeweights and worth listening to, but don't let them distract you from the ethereal beauty on offer in the sonata.
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3 of 3 people found the following review helpful By abidoful on 7 Mar 2010
Format: Audio CD
I have little but praise for this disc!

The Chopin Cello Sonata should actually come out like this, played by true virtuosi- like these two ones here, one of the greatest ones of the latter part of the last century, MSISTLAV ROSTROPOVICH and MARTHA ARGERICH. After all,it was the same way the work was conceived in the first place; Chopin of course was an amazing artist with his piano and August Franchomme, whom the sonata is dedicated, a great cello virtuoso. With him the composer gave the first performance in Paris a year before he died, in 1848 (inconceivably omitting the first movement).

August Franchomme was himself a composer and a long-time friend of Chopins, their friendsip going all the way back to early 1830s upon his arrival to Paris. He also assisted Chopin negotiating his publishers after his "kind-of-a friend-but-actually-more-of-a secretary" Julian Fontana had left Europe for United States-possibly due to his exhaustion caused by Chopins increasing requests and errands (once even asking him to send CAKE from Paris- to Nohant!!).
Chopin and Franchomme collaborated in 1831-32 composing a joint composition, a kind of a free fantasia-potpourri on the themes of a Grand Opera by Giocamo Mayerbeer called "Robert le Diable". The work was published under the heading "Grand duo concertante". For Chopin it must have been an experience which gave him an intimate understanding of the possibilities of the cello, little similar to-for instance- the collaboration of the violinist Paul Kochanski and Karol Szymanowski some 80 years later (Kochanski for examble composed the cadenzas of both of the violin concertos by Szymanowski).
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