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DI 5202
BRAHMS: Cello Sonatas Nos. 1, 2 / SCHUBERT: Arpeggione Sonata (Nyffenegger)
BRAHMS: Cello Sonatas Nos. 1, 2 / SCHUBERT: Arpeggione Sonata (Nyffenegger)
Released Date:
01 Feb 2013
Originally recorded in 1992
Artists:
Gerard Wyss
Soloist
Esther Nyffenegger
Soloist
Venue:
Private Location, Switzerland
Record Label
Divox
Genre:
Chamber
Classical
Total Time - 69:30
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BRAHMS: Cello Sonatas Nos. 1, 2 / SCHUBERT: Arpeggione Sonata (Nyffenegger)
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JOHANNES BRAHMS
Cello Sonata No. 1 in E minor, Op. 38
1
I. Allegro non troppo
12:49
Esther Nyffenegger Soloist
2
II. Allegretto quasi minuetto
5:00
Esther Nyffenegger Soloist
3
III. Allegro
6:00
Esther Nyffenegger Soloist
FRANZ SCHUBERT
Arpeggione Sonata in A minor, D. 821 (arr. for cello and piano)
4
I. Allegro moderato
7:32
Esther Nyffenegger Soloist
5
II. Adagio - III. Allegretto
12:07
Esther Nyffenegger Soloist
JOHANNES BRAHMS
Cello Sonata No. 2 in F major, Op. 99
6
I. Allegro vivace
8:35
Gerard Wyss Soloist
7
II. Adagio affettuoso
6:55
Gerard Wyss Soloist
8
III. Allegro passionato
6:04
Gerard Wyss Soloist
9
IV. Allegro molto
4:28
Gerard Wyss Soloist
Romantic Cello Music
During the 18th century, the cello, as a solo instrument, did not hold any privileged status. Up until the end of that century, the cello functioned primarily as a continuo instrument within the framework of the gradually disintegrating ground bass practise. In addition, the change in style to classicism implied on almost exclusive preference for upper voice melody which is expressed better by the violin and flute than viola and cello.
But the sonorous "cantabile" of the cello may have appealed to and stimulated the romantic composers more strongly than those of the 18th century. In addition, a new technique for writing movements arose, which allowed for and suggested the thematic-melodic lead not only in the treble but now in the middle voice of the tenor or alto register as well.
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