Cello Playing Class

After titanic contributions to the cello sonata repertoire by Ludwig van Beethoven, few notable additions were made for several decades. Not until 1862 did the cello sonata re-emerge in the hands of Johannes Brahms. His peculiar First Sonata contains only three movements (the Adagio having been omitted for fear of the sonata being too lengthy) and a finale that all but defies formal analysis. Almost a quarter century passed before Brahms again returned to the cello sonata, this time in the key of F major. The second sonata is considerably more challenging for cellists and Brahms' treatment of the instrument is not the exclusively lyrical, sonorous melodies that one might expect. Rather, Brahms incorporates lots of rhythmic, motivic playing and pizzicato passages and rapid bariolage. A "third" cello sonata, which has become increasingly popular in recent years, is Paul Klengel's (whose cello-playing father was much admired by Brahms) transcription of the G major Violin Sonata.

Oh, not another Dvořák Cello Concerto recording, you would be justified in asking. Well, yes and no. This is indeed a special one, but not only for the superb performance the German-Canadian cellist Johannes Moser gives with the Prague Philharmonia under Jakub Hrůša of this most popular of all cello concertos. What makes this disc practically indispensable is its inclusion of the less frequently heard Lalo concerto in the best account I have heard since Pierre Fournier recorded it many years ago with Jean Martinon and the Lamoureux Orchestra for DG.