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Brahms: Cello Sonatas
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Brahms: Cello Sonatas
Current price: $19.99
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Barnes and Noble
Brahms: Cello Sonatas
Current price: $19.99
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Alisa Weilerstein
is a wonderful cellist who is capable of producing a range of tones from her instrument, from deep growls to celestial tunefulness. She's long been right on the edge of true stardom, and this 2024 release, featuring
Brahms
' two cello sonatas plus the performers' own transcription of the
Violin Sonata No. 1 in G major, Op. 78
, may put her over the top; indeed, it made classical best-seller lists in the late autumn of that year. One can only regret that it came too late for 2024 Grammy consideration, and perhaps too early for 2025. The
cello sonatas make use of the full range of
Weilerstein
's production, from dreamy high notes in the slow movements to the high-intensity attacks of the first movement of the
Cello Sonata No. 2 in F major, Op. 99
, and the complex long lines of these works are under deep control. Even better than the individual contributions of
and pianist
Inon Barnatan
is the interaction between the two players, who are longtime collaborators. As much as in any of the classic recordings of these works --
Jacqueline du Pré
and
Daniel Barenboim
come to mind -- each phrase seems created by the two players in communion. Only the violin sonata transcription may inspire questions; it's certainly listenable, and makes fine use of
's songful tone, but register is a key part of
' language -- indeed, this was one of the aspects that fascinated the Second Viennese School in his music -- and much of that is lost here. The engineering from the
Pentatone
label is, as usual, a strong point; a recital hall at San Francisco State University may seem an unpromising venue, but it turns out beautifully, putting the listener up close to the performers and their thought processes. A superb release showing a fine cellist's continuing development. ~ James Manheim
is a wonderful cellist who is capable of producing a range of tones from her instrument, from deep growls to celestial tunefulness. She's long been right on the edge of true stardom, and this 2024 release, featuring
Brahms
' two cello sonatas plus the performers' own transcription of the
Violin Sonata No. 1 in G major, Op. 78
, may put her over the top; indeed, it made classical best-seller lists in the late autumn of that year. One can only regret that it came too late for 2024 Grammy consideration, and perhaps too early for 2025. The
cello sonatas make use of the full range of
Weilerstein
's production, from dreamy high notes in the slow movements to the high-intensity attacks of the first movement of the
Cello Sonata No. 2 in F major, Op. 99
, and the complex long lines of these works are under deep control. Even better than the individual contributions of
and pianist
Inon Barnatan
is the interaction between the two players, who are longtime collaborators. As much as in any of the classic recordings of these works --
Jacqueline du Pré
and
Daniel Barenboim
come to mind -- each phrase seems created by the two players in communion. Only the violin sonata transcription may inspire questions; it's certainly listenable, and makes fine use of
's songful tone, but register is a key part of
' language -- indeed, this was one of the aspects that fascinated the Second Viennese School in his music -- and much of that is lost here. The engineering from the
Pentatone
label is, as usual, a strong point; a recital hall at San Francisco State University may seem an unpromising venue, but it turns out beautifully, putting the listener up close to the performers and their thought processes. A superb release showing a fine cellist's continuing development. ~ James Manheim