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Album Savings: £0.94 compared to buying all songs
- Original Release Date: 28 Nov 2005
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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| Song Title | Artist | Time | Price | |||
|---|---|---|---|---|---|---|
| Play | 1. Sonata for Violoncello Solo Op.8 1st Movement Allegro Maestoso ma Appassionato (Album Version) | Sung-Won Yang | 9:16 | £0.89 | ||
| Play | 2. Sonata for Violoncello Solo Op.8 2nd Movement Adagio (Album Version) | Sung-Won Yang | 12:02 | £2.99 | ||
| Play | 3. Sonata for Violoncello Solo Op.8 3rd Movement Allegro molto Vivace (Album Version) | Sung-Won Yang | 11:59 | £2.99 | ||
| Play | 4. Adagio for Violoncello & Piano (Album Version) | Sung-Won Yang | 8:01 | £0.89 | ||
| Play | 5. Sonatina for Violoncello & Piano (Album Version) | Sung-Won Yang | 7:38 | £0.89 | ||
| Play | 6. Sonata for Violoncello & Piano Op.4 Allegro con Spirito (Album Version) | Sung-Won Yang | 8:27 | £0.89 | ||
| Play | 7. Sonata for Violoncello & Piano Op.4 Fantasia-Adagio di Molto (Album Version) | Sung-Won Yang | 9:24 | £0.89 |
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Customer Reviews
Most Helpful Customer Reviews
6 of 6 people found the following review helpful
Format:Audio CD
The Kodaly solo cello sonata is worthy of comparison with the solo suites of Bach and Britten. Sung-Won Yang is completely on top of its technical demands in this impassioned and exciting performance, keeping the momentum going even in the discursive last movement. The other works, for cello and piano, if not quite as inspired as the solo sonata, are also enjoyable. Good recording and sound.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
Convincing, confident performances just a tad short on unbridled energy
15 Dec 2010
Format:Audio CD
Kodaly's contributions to the cello repertoire must rank among his most important achievements. The solo cello sonata is a towering masterpiece, worthy of comparison with Bach's works, while the earlier sonata and sonatina with piano are very good works as well (though not masterpieces - Kodaly's Duo is, but that one is not included here). One should think, however, that in particular the solo sonata would require seasoned interpreters and thus feel a little hesitant about a release of this repertoire in EMI's Debut series. But there is little to worry about. The two Korean artists display all the confidence, subtlety, sense of line and clear grasp of the overall visions (and ability to realize them) that is required in this music.
Sung-Won Yang plays with a big, bold, rich and often rather dark tone, which suits the solo sonata eminently well, and in particular the lower registers sound absolutely superb. He is not afraid to underline the grandeur of this music and approach it as the towering masterpiece it really is. Kodály's long melodic lines are confidently shaped and very convincingly realized, as they are in the cello sonata and sonatina (and the minor Adagio, for that matter) as well; Ick-Choo Moon is a sympathetic partner who is not afraid to play boldly and colorfully either. The effect is a series of convincing performances; the one possible complaint would again be that the music sometimes lack momentum - sure, it is all well-phrased and the architecture of the music meticulously laid out, and even the color is there; but there is, perhaps, a shortage of drive. I would, however, like to emphasize how Hungarian they make the music sound (at least to my ears), especially in the folksy, dance-like music of the finales. Despite minor reservations this can be rather confidently recommended.
Sung-Won Yang plays with a big, bold, rich and often rather dark tone, which suits the solo sonata eminently well, and in particular the lower registers sound absolutely superb. He is not afraid to underline the grandeur of this music and approach it as the towering masterpiece it really is. Kodály's long melodic lines are confidently shaped and very convincingly realized, as they are in the cello sonata and sonatina (and the minor Adagio, for that matter) as well; Ick-Choo Moon is a sympathetic partner who is not afraid to play boldly and colorfully either. The effect is a series of convincing performances; the one possible complaint would again be that the music sometimes lack momentum - sure, it is all well-phrased and the architecture of the music meticulously laid out, and even the color is there; but there is, perhaps, a shortage of drive. I would, however, like to emphasize how Hungarian they make the music sound (at least to my ears), especially in the folksy, dance-like music of the finales. Despite minor reservations this can be rather confidently recommended.
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