Beethoven's cello sonatas were among the first works to explore the potential of the cello as a solo chamber instrument. French cellist François Salque
catches the nature of this status in his splendid recordings of the
early Op. 5 sonatas on this two-disc Sony set: it's a lively recording
in which the cello seems to grow into its new role. Sample the
unexpectedly massive (16-minute) opening movement of the Cello Sonata
No. 1 in F major, Op. 5, No. 1, a sort of extended essay in the
development of new sonorities for cello and piano; in Salque's hands the cello seems constantly to be stepping to the forefront in unexpected ways. Salque and pianist Eric Le Sage
deliver suave readings in a classic French tradition, and their
approach works wonderfully in the Op. 5 sonatas, less well in the
middle-period Cello Sonata No. 3 in A major, Op. 69, and once again
excitingly in the late fourth and fifth sonatas, which also were
stylistically transitional works and among the first in which Beethoven's late style really showed itself. Here again, the precise ways of Salque and Le Sage
yield results in terms of clarity in the big new fugal finale of the
Cello Sonata No. 5 in D major, Op. 102, No. 2, and especially in the
complex ebb and flow of the two-movement (or is it four?) Cello Sonata
No. 4 in C major, Op. 102, No. 1. With fine sound from the Salle de la
Conservatoire de Liège, this is Gallic Beethoven playing at a high level. (James Manheim)Beethoven's cello sonatas were among the first works to explore the potential of the cello as a solo chamber instrument. French cellist François Salque
catches the nature of this status in his splendid recordings of the
early Op. 5 sonatas on this two-disc Sony set: it's a lively recording
in which the cello seems to grow into its new role. Sample the
unexpectedly massive (16-minute) opening movement of the Cello Sonata
No. 1 in F major, Op. 5, No. 1, a sort of extended essay in the
development of new sonorities for cello and piano; in Salque's hands the cello seems constantly to be stepping to the forefront in unexpected ways. Salque and pianist Eric Le Sage
deliver suave readings in a classic French tradition, and their
approach works wonderfully in the Op. 5 sonatas, less well in the
middle-period Cello Sonata No. 3 in A major, Op. 69, and once again
excitingly in the late fourth and fifth sonatas, which also were
stylistically transitional works and among the first in which Beethoven's late style really showed itself. Here again, the precise ways of Salque and Le Sage
yield results in terms of clarity in the big new fugal finale of the
Cello Sonata No. 5 in D major, Op. 102, No. 2, and especially in the
complex ebb and flow of the two-movement (or is it four?) Cello Sonata
No. 4 in C major, Op. 102, No. 1. With fine sound from the Salle de la
Conservatoire de Liège, this is Gallic Beethoven playing at a high level. (James Manheim)
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