What particularly stands out in these performances is their communicative character, the ease with which this duo phrases, articulates and nuances, on the one hand dynamic and powerful, on the other hand intimate and lyrical. The long melodic lines are sublimely developed, but also the powerful sforzati and syncopations are in the best hands with these two top musicians. No wonder, then, that I was soon swept up in that so contrasting journey, from Beethoven's first serious explorations in this field (the two sonatas op. 5) to the last with their unfathomable stirrings (the two sonatas op. 102).
It has been a long road, from the three sonatas for gamba and harpsichord composed by Bach BWV 1027-1029, the first fully-fledged works in the genre, to Beethoven's grandly conceived cello sonatas, which – as one would expect – can boast of a discographic repertoire of meanwhile abundant proportions.
Beethoven wrote only a limited number of pieces for cello and piano: no more than five sonatas (by contrast ten violin sonatas) and three sets of variations plus an arrangement for cello and piano of the Horn Sonata op. 17. But they do span from Beethoven's creatively early to his late years: op. 5 was created in 1796 (he had settled definitively in Vienna four years earlier), op. 102 almost three decades later, in 1815.
The Cello Sonata in A, op. 69, completed in 1808 and dedicated to 'Freiherr' Ignaz von Gleichenstein, contains so much melodic richness, expressive intensity and surprising harmonic turns that it constitutes a true showcase for any duo of what it is or is not capable of. By the way: how would this sonata have sounded in 1809, during its premiere by cellist Nikolaus Kraft and pianist Dorothea von Ertmann (a talented pupil of the composer, to whom he dedicated his Piano Sonata no. 28 op. 101)?
The first work I listened to on this double album was therefore op. 69, in which French cellist Michel Strauss and Belgian pianist Jean Claude Vanden Eynden display so much flair, charm, virtuosity and passion that I pressed the 'repeat' button on the cd player to follow the entire interpretation process several times in a row with the score on my lap, each time struck by the spirited character of this performance, the technical mastery and the structural insight that this duo demonstrates.
After which a second 'proof of competence', actually much more than that, followed: the Adagio con molto sentimento d'affetto from op. 102/2, for me likewise a touchstone with regard to expressive power. Again I was struck by the expressive depth that both musicians are able to achieve here, which promptly reminded me of that famous saying of the composer that music is a higher revelation than all wisdom and philosophy. But also that making music without passion is unforgivable, a 'sin' that this formidable duo certainly cannot be accused of!
The three sets of variations (much more than merely a supplement to the five sonatas) are also perfect in terms of tone formation, rhythmic pregnance and precision, alternately flamboyant and intimate.
Daan van Aalst recorded this production, which was created in collaboration with the Royal Conservatoire in The Hague, in the Amare Studio 2 flawlessly.
In short, everything has been done to get excited about this double album. Although Et'cetera is competing with itself in this case, as on the same label this work was released more than a decade ago but still available, performed by cellist France Springuel and pianist Jan Vermeulen (albeit on fortepiano); and also with as a not-to-be-missed 'treat' the Horn Sonata in F, op. 17 arranged by Beethoven himself for cello and piano (I discussed the entire set here). That in my opinion certainly deserved a place on this new album.