Ludwig Van Beethoven (1770-1827) Complete Cello Sonatas & Variations *Click to activate the English subtitles for the presentation* (00:00-05:10) Cello Sonata No.1 in F, Op.5 No.1 I.Adagio sostenuto - Allegro (00:00) II.Rondo - Allegro vivace (18:00) Cello Sonata No.2 in G minor, Op.5 No.2 I.Adagio sostenuto ed espressivo (24:52) Allegro molto, più tosto presto (30:47) II.Rondo - Allegro (38:39) Cello Sonata No.3 in A, Op.69 I.Allegro ma non tanto (47:15) II.Scherzo - Allegro molto (59:45) III.Adagio cantabile - Allegro vivace (1:05:01) Cello Sonata No.4 in C, Op.102 No.1 I.Andante - Allegro vivace (1:13:27) II.Adagio - Tempo andante - allegro vivace (1:21:26) Cello Sonata No.5 in D, Op.102 No.2 I.Allegro con brio (1:28:07) II.Adagio con molto sentimento d’affetto (1:34:27) III.Allegro - Allegro fugato (1:42:29) 12 Variations on ‘’See the Conquering Hero Comes’’ (1:46:44) From Handel’s Judas Maccabeus, WoO 45 7 Variations on ‘’Bei Männern welche Liebe fühlen’’ (1:58:31) From Mozart’s Die Zauberflöte, WoO 46 12 Variations on ‘’Ein Mädchen Oder WeiBchen’’ (2:07:59) From Mozart’s Die Zauberflöte, Op.66 Cello : Paul Tortelier Piano : Eric Heidsieck Recorded in 1971-72, at Paris 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Ludwig Van Beethoven PLAYLIST (reference recordings) : ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-aI0FhkCnLoc.html
Lebhafte und wunderschöne Interpretation dieser perfekt komponierten Sonaten und Variationen im relativ schnellen Tempo mit mildem Ton des unvergleichlichen Cellos und klarem Klang des genialen Klaviers. Der intime und perfekt entsprechende Dialog zwischen den beiden Virtuosen ist wahrlich ergreifend. Alles ist wunderbar!
Here is a little-known version which has very good quality: the dynamic play of the two partners is remarkable. The contrast, the nuances and the sound rebounds, the beauty of the instrumentalists' timbres, the great technical mastery of these two Beethoven specialists. Everything comes together to make this version that breathes life (as refreshing as a cool drink in the middle of summer) a reference. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 ❤️ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr
Les sonates pour violoncelle et piano de Beethoven comptent parmi mes œuvres de musique de chambre préférés du compositeur. En revanche je reconnais que je n'aurais pas choisi cette version, mais plutôt Fournier et Gulda ou Richter et Rostropovich. Merci pour vos vidéos et qualité.
Il y a plusieurs versions de références, chacune avec des qualités qui lui sont propres. Celle-ci respire la fougue, l'énergie de par ses attaques ainsi que ses contrastes sonores et dynamiques impressionnants. Elle déborde d'énergie et de joie de vivre. C'est la version d'un(e) jeune homme/femme qui part à la conquête de la vie !
This, surely, desreves a Century Recording appelation. The acoustic, given your engineering magic brings this recordng to life unimaginable in the pre-digital age. OK there are probably other great recodings of these sonatas, but surely this must be among the best. Thank you as always for your wonderful catalogue.
This is fantastic! Beethoven was way ahead of his time - and has quoted both Händel, whom he admired deeply and plays with Mozart (papageno aria). I suppose, he found Mozarts melody light and fresh - and Glucks touching "Dance of the spirits": super poetic. Here and there he was very modern - and even crossed the border of year 1900! Once I heard Sokolov play one of Beethovens bagatelles and was stunned - thought: 1913! Well - that was how far Beethoven went.....like if he prophesized what was to come. That is why his last quartets are often referred to as "mad quartets", which I have with the Emerson Quartet.. I thought of early 1900-composers, when I heard them. At 38,9 I even sense a slight bit Schubertian....and some Mendelssohnian here and there. I never thought, that Beethoven would be easy enough on himself to allow himself to quote others, he admired.....but evidently he saw their lasting qualities and knew, what was to come. He probably had a good time writing this - and who wouldn´t want good times for him? He suffered greatly.....so..
Such complete unabashed sprit and commitment is what I needed on this day also Who plays today with such unapologetic romanticism ? These works shine in the heart.Thank you, from mine.
I found this to be an extraordinary performance...perhaps the best even compared with those of the renowned virtuosos...plus the rarely heard variations...what a bonus...thanks for uploading
While Tortelier is a fairly well-established name, Heidsieck is long overdue for recognition and praise for his contribution to the Beethoven discography (and beyond). Wonderful chemistry between these two, and a bright clear acoustic complemented by such lyrical playing and exchanges.
I have never heard anything this "playful" written by Beethoven. I am quite convinced, that he must have enjoyed himself while he was writing these works.
Surely, the Beethoven’s inspiring muse drink from Hippocrene water when that giant of art removed from his music the continuous, in the light of Romanticism, a new period that he had to just created. In the radical change that Beethoven decided to make in its music, had in mind, a new way for the chamber works he composed following, more directed to the solo instrument with accompaniment to the fortepiano (Hammerklavier) in a totally innovative concept of the classical duos by Mozart and Haydn, like the Duo for cello “obbligato” opus 5, numbers 1 and 2, that he wrote, dedicated, and played for the entire European nobility with Duport, the cellist of Napoleon Bonaparte, playing his 1711 Stradivarius being this, perhaps the very first and true duo in music history.
