BEETHOVEN
Cello Sonatas: in F, op. 5/1; in A, op. 69; in D, op.
102/2
Bjørn Solum (vc); Kristin
Fossheim (fp) Ÿ
2L Ÿ
2L7 (67:18)
Copyright
©2002 - Fanfare, Inc.
Rather charmingly, the players here attempt to reproduce the
sound Beethoven expected to hear when his cello sonatas were played, while at
the same time admitting the difficulty of such a task. After all, they point out,
the fortepiano was evolving during Beethoven’s lifetime. Nonetheless, the
sweet, slightly muffled (to our ears) sound of a copy of a 1790 Walter piano
must be closer to the instruments Beethoven heard than a 20th-century Steinway
would be. That is no reason to turn away from the great recordings of the past,
including my favorite, that of Pierre Fournier with Artur Schnabel, where the
perfect balance of the two instruments, the exquisite phrasing, and the
convincing forward motion are a result of the musicians’s tact, understanding,
and sublime musicality. A phrase played by Fournier, or a Feuermann, for
instance, will have a shape, and a purpose in the larger context, that makes the
specific sound seem secondary. I don’t think it would matter if you took away
a little of the Steinway treble from Schnabel’s playing.