“Beethoven’s five sonatas for piano and cello show in a nutshell the
same evolution that the 32 piano sonatas show,” said András Schiff
recently, in an American radio interview. “You have this wonderful young
lion Beethoven in the opus 5 sonatas, you have the opus 69, the A
major, which stands in the middle of his life, and then you have these
wonderful two works, opus 102, which are at the gates of the late style,
the last phase. And these are in a way experimental works, but fully
crystallized.”
András Schiff’s decision to record Beethoven’s complete works for piano
and cello is characteristic for a musician who has set himself the
challenge of undertaking many complete cycles of works in his concert
life. Recitals and special cycles including the major keyboard works of
J.S. Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann and
Bartók have long been an important part of his activities. A special
focus in 2004, for instance, has been performance of the complete
Beethoven Piano Sonatas in chronological order. For Schiff, this is a
matter of “curiosity, and trying to see connections, to see the
development and evolution of a composer in a certain genre. It’s a
learning process I would like to share with my listeners.”
The works for piano and cello are realized here with Miklós Perényi.
“There is a great affinity between us, coming from the same country and
the same city, Budapest.” Five years his senior, Perényi’s status as “a
wunderkind, a child prodigy” was a local legend when Schiff was growing
up. Subsequently, Perényi was to become the favourite pupil of Pablo
Casals; for András Schiff, his countryman is “the greatest cellist alive
today”. Pianist and cellist have been chamber music partners for a long
time now, intensifying their musical relationship during Schiff’s
decade-long directorship of the Musiktage Mondsee and playing concerts
together around the world.
There is no shortage of repertoire for cello and piano today, but when
Beethoven wrote his opus 5 sonatas in 1796, at the age of 25, the
instrumentation was still considered novel. Schiff feels that these are
Beethoven’s “first very brilliant compositions”. In the opus 5 works,
however, the cello and piano are not yet equal partners: “With all
respect to the cello, these are very virtuoso piano parts that Beethoven
played, these were really show pieces for himself. And the cello part
is of course very demanding and very important but the piano carries the
weight of the drama.” This puts a responsibility on a pianist: “You
have to be not overpowering while still keeping the force and the
weight.” The opus 5 pieces are distinct in character. Opus 5/1 sets out
“to entertain in a very noble way. It’s youthful, this is a young
Beethoven, and it’s full of life and also full of humour;” Opus 5/2 is
“very dramatic and very dark in colour”, at least until its concluding
rondo where the sun breaks through the clouds.
By the time Beethoven wrote the A major Sonata op. 69, in the winter of
1807/8, he was already on the other side of his so-called “middle
period”, and in between the composing of the Fifth and Sixth Symphonies.
His writing for the combination of cello and piano “had also evolved
radically,” as Martin Meyer writes in the liner notes for this
collection. Opus 69 proceeds dialectically; it is created out of
contrasts that seem finally obliterated by the motoric energy of the
concluding Allegro vivace. Meyer: “From the composer’s own
declarations one could aptly cite here his expressed desire that his
work be marked solely by a constant advance toward something new and
different.”
In 1815 Beethoven composed the Sonatas Op. 102, the first of which he
described as a “free Sonata”, meaning “that one should no longer try to
rationalize the logic of its unconventional structure” (Meyer). Schiff
describes the fugue in the final movement of Op. 102/2, as “still a
puzzle after almost 200 years”. Its ‘modernity’ is extraordinary: “It’s
still giving a hard time to listeners and performers because it makes no
compromises. It’s very tough, yet it is beautifully conceived, it’s
perfectly written. When we started this with Miklós Perényi, we really
analyzed it, and sometimes just played it really slowly, just enjoying
every moment and every little corner of it.”
Completing the double-CD programme are four works played less often:
three sets of “Variations” for cello and piano from the “early” period,
based respectively on themes from Mozart’s Magic Flute and Handel’s Judas Maccabeaus,
and the “Horn Sonata” Op. 17, which was written originally for Bohemian
waldhorn virtuoso Giovani Punto, who premiered the work together with
Beethoven in 1800. The composer later revised the horn part for cello. (ECM Records)
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