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Brahms - Sonatas for Cello and Piano | Channel Classics CCSSA24707

Brahms - Sonatas for Cello and Piano

New Item

Label: Channel Classics

Cat No: CCSSA24707

Barcode: 0723385247074

Format: Hybrid SACD

Number of Discs: 1

Genre: Chamber

Release Date: 9th April 2007

This product has now been deleted. Information is for reference only.

Contents

Works

Brahms
Cello Sonata No. 1 In E Minor Op. 38; Cello Sonata in D major Op. 78 (arr. From Violin Sonata); Clarinet Sonata No. 1 in F minor Op. 120 No. 1 (transcription of the Clarinet/Viola Sonata by P. Wispelwey)

Artists

Pieter Wispelwey (cello)
Dejan Lazic (piano)

Works

Brahms
Cello Sonata No. 1 In E Minor Op. 38; Cello Sonata in D major Op. 78 (arr. From Violin Sonata); Clarinet Sonata No. 1 in F minor Op. 120 No. 1 (transcription of the Clarinet/Viola Sonata by P. Wispelwey)

Artists

Pieter Wispelwey (cello)
Dejan Lazic (piano)

About

Pieter Wispelwey and Dejan Lazic have one of the most responsive partnerships in chamber music today.
 
This is the follow up to the critically acclaimed Beethoven Cello Sonatas, which was praised for its integrity and flawless technical ability.
 
Johannes Brahms composed chamber music throughout his entire career, starting with the Piano Trio op. 8 of 1854, the same year that his beloved friend Robert Schumann made a suicidal leap into the Rhine near Düsseldorf, and ending with the two Clarinet sonatas op. 120 of 1894, written three years before Brahms’s own death.
 
Over some 40 years, Brahms produced 24 exceptional pieces of chamber music ranging from duo to sestet, all of them composed with the same apparent ease. This was in sharp contrast to his titanic struggles with the orchestral music, an inward wrestling match with the examples of Beethoven and Schubert, particularly in the First Symphony and the First Piano Concerto.
 
Brahms ultimately succeeded in attaining the level of his predecessors in his orchestral works, but his preference was for chamber music, and his personality came through more clearly in the smaller settings. The string quartet was an exception: he waited until his fortieth year to publish a single one. But Brahms had been experimenting in secret. According to his own account, he had started by tossing some twenty attempts at a string quartet into the fire.

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