Fuchs / Drobinsky / Blumenthal - Cello Sonatas Nos. 1 & 2 - COMPACT DISCS [CD]

Getz,Stan / Byrd,Charlie - Jazz Samba - UHQCD [COMPACT DISCS] HqCD Remaster, Japan - Import date 06/06/2025

Bohuslav Martinu is one of the world-famous composers of the 20th century. Inspired by his homeland's tribulations, he composed his Sonata for Cello and Piano No. 1, dedicated to the brilliant French cellist Pierre Fournier. In America he found friends of Czech extraction. One of them was Frank Rybka, who earlier studied music in Brno with Leoš Janácek. The Sonata for Cello and Piano No. 2 is dedicated to Rybka. The Sonata for Cello and Piano No. 3 was composed in France and was dedicated to the memory of Hans Kindler, known to Martinu from his Paris days as an outstanding cellist and later conductor. Petr Nouzovský is being recognized as one of Europe's eminent cellist of his generation. He continues to collaborate with prominent conductors, such as Jakub Hruša, Charles Olivieri-Munroe, Petr Altrichter, Caspar Richter and others. His recording of Bohuslav Martinu's complete works for cello and orchestra was awarded the 2017 Preis der Deutschen Schallplattenkritik and the 2018 Classic Prague Award. Gérard Wyss is much demanded as an accompanist as well as chamber musician, performing all over Europe. He has accompanied world's leading singers and soloists, such as Cecilia Bartoli, Nicolai Gedda and others

This is part of a two album project to include the clarinet sonatas and the first violin sonata, all played by Raphael Wallfisch and John York. The single Sonatensatz (Scherzo) was not published till after Brahms' death. The piece is originally for violin and piano and formed the third movement of a full-length four movement sonata by three different composers, Schumann, Dietrich his student, and the youthful Brahms. This is the only movement still regularly performed. It certainly makes a strong, effective recital piece. More than twenty years separate the two cello sonatas. While the first, in E minor is generally rather somber, often very low-lying on the cello and serious in it's Bachian working-out, the second, in F major is full of turbulent, confident, even heroic qualities. It presents both players at full throttle, strutting proudly through one noble melody after another, and then - in the radically remote and radiant key of F sharp major - has one of Brahms' most glorious slow movements and a dark scherzo which paraphrases the opening theme from his 3rd symphony's finale. These two sonatas for cello and piano have achieved a legendary position - wonderful and powerful expressions of 19th century romanticism.