ベートーヴェン: チェロとピアノのための作品全集

ベートーヴェンのチェロとピアノのための全ての作品を、ユリウス・ベルガーとマルガリータ・ヘーエンリーダーとが演奏したアルバム。2人は最新の原典版スコアを用いて作品を徹底的に研究。ベートーヴェンについてのカール・チェルニーやヴァイオリニストであり音楽学者でもあったルドルフ・コーリッシュ、作家ロマン・ロランや音楽評論家エレオノーレ・ビューニングなどの文献を読み議論を重ね、作品の本質を模索しました。頂点は見えてもそこに到達することができない芸術の道を二人は人生に例え、ベートーヴェン作品の研究・演奏を重ねることで共に成長することができると語っています。
180g重量盤
33 1/3rpm
ナクソス・ジャパン

More than any other works of Beethoven, except his single song cycle, his works for cello and piano represent the creation of an entirely new genre. There were a few works for the combination before Beethoven, but they reflected the archaic terminology publishers continued to use for Beethovens sonatas, for piano and cello. Beethoven was the first to create a true dialogue between the two instruments, and as such, these works are amenable to the kind of quiet, detailed traversal they receive here from cellist Julius Berger and pianist Margarita Hohenrieder. Its easy to overplay the cello sonatas, but they avoid the temptation at every turn. They are especially effective in the early Op. 5 sonatas, where they achieve a fascinating effect in which the listener seems to enter into Beethovens spontaneous, experimental frame of mind here. The two late sonatas, arguably the first works in which the vast formal freedoms of Beethovens late style begin to unfold, are also very strong here, and the performances have a sense of real discovery. A disincentive is sound that is both over-resonant and too close to the performers. An added attraction is the presence of three rarely heard cello-and-piano variation sets at the end of the program. This is an offbeat item by a pair of players better known as teachers than as performers, and its a nice find.