Composer: Johannes Brahms
Works: Cello Sonata in E minor, Opus 38; Cello Sonata in F major, Opus 99; Robert Schumann: Fantasiestücke, Opus 73
Performers: Arto Noras (cello), Juhani Lagerspetz (piano)
Recording: Rec April 1996, Järvenpää Hall, Finland
Label: APEX 09274 05982
Johannes Brahms, a titan of the Romantic era, is known for his profound understanding of instrumental color and texture, particularly in chamber music. His two cello sonatas, composed during a period of both personal and artistic growth, reveal a rich tapestry of emotional depth and structural innovation. The Sonata in E minor, Opus 38, composed in 1862, reflects Brahms’s lyrical and introspective side, while the later Sonata in F major, Opus 99, completed in 1886, showcases a more mature, effervescent voice that balances lyrical expressiveness with vibrant rhythmic vitality. The inclusion of Robert Schumann’s Fantasiestücke, Opus 73, composed in 1849, serves as an illuminating contrast, providing insight into the interplay between Brahms and his mentor, whose influence is palpable in these chamber works.
Arto Noras delivers a performance that is both technically impressive and interpretively insightful. His playing in the Opus 38 Sonata exhibits a robust tone that conveys the gravitas of the work’s opening Allegro non troppo. The thematic contour of the first movement is articulated with a clarity that highlights Brahms’s melodic arch, while Noras’s expressive phrasing draws listeners into the emotional landscape of the music. However, the balance between cello and piano at times feels slightly skewed; the recording tends to favor Noras’s voice, which, while rich and engaging, can overshadow Juhani Lagerspetz’s sensitive piano part. This partnership is crucial in Brahms’s music, where the piano is not merely an accompaniment but an equal collaborator, shaping the discourse between the instruments.
The contrasting character of the second movement in Brahms’s Opus 99 is particularly noteworthy. Here, Noras and Lagerspetz convey a vivacious spirit, with the Allegro maintaining a brisk, infectious momentum. The interplay between cello and piano becomes more pronounced, revealing a dialogue that is both playful and intricate. Brahms’s decision to eschew a traditional slow movement in the earlier sonata in favor of a minuet-like Allegretto showcases his innovative spirit; Noras navigates this challenge adeptly, with a nuanced touch that maintains the whimsy without sacrificing depth. The subsequent Adagio of Opus 99, in stark contrast, is delivered with a profound sense of introspection, showcasing Noras’s ability to shift emotional gears effectively.
Schumann’s Fantasiestücke, while less frequently performed, offer a delightful counterpoint to Brahms’s sonatas. In Noras and Lagerspetz’s interpretation, these pieces emerge with a refreshing lightness and charm. The performers capture the subtleties of Schumann’s writing, characterized by its lyrical expressiveness and harmonic richness. The affinity between the two composers is palpable, with Schumann’s influence resonating through Brahms’s work. The thoughtful inclusion of these pieces not only enriches the program but also deepens the listener’s understanding of the connections between these two great composers.
The recording quality is commendable, with a clarity that allows the intricate interplay between cello and piano to shine through. Nonetheless, the slight imbalance in favor of the cello may leave some listeners longing for a more integrated sound. While this performance may not supplant renowned recordings by the likes of Rostropovich and Richter, it holds its own through Noras’s compelling artistry and Lagerspetz’s sensitive accompaniment.
This collection of Brahms’s sonatas and Schumann’s Fantasiestücke offers a rewarding listening experience, characterized by strong interpretative choices and a palpable emotional depth. Noras’s technical prowess and interpretative insight come together to create a compelling narrative that invites both reflection and enjoyment. The partnership, though occasionally uneven, ultimately reveals the intricate dialogue that lies at the heart of these works, making this recording a valuable addition to the chamber music repertoire.
