Een driedubbele cd met het integrale werk voor cello en pianoforte van Ludwig Van Beethoven, dat is het resultaat van de intense muzikale samenwerking van celliste France Springuel en pianist Jan Vermeulen. De twee begonnen drie jaar geleden samen te musiceren en de muzikale klik die beiden toen voelden, deed hen besluiten om het repertoire voor cello en piano aan te pakken. Eerst waren er twee Schubertcd's, dan volgde Schumann, en nu is er dus Beethoven. De sonate voor cello en piano is in feite een uitvinding van Beethoven zelf.

By today's standards, there's nothing particularly jarring or seemingly progressive about the mature works of Gabriel Fauré. In his own time, however, he was often criticized for his curious, almost experimental use of harmony in his chamber music, and for what some saw as his neglect of the individual qualities of the instruments for which he was composing. Some of these sentiments have endured and resulted in the infrequent performance of many of his chamber works, in this case the two sonatas for cello and piano. While the cello "miniatures," such as the Op. 24 Elegie and the Op. 7 Apre un Reve (transcribed by Casals), have enjoyed popularity particularly in high school and early college studios, they are not representative of Fauré's developed harmonic language.

David Geringas is very much of the school of his teacher Rostropovich when it comes to the Bach Suites: the speeds are very fast, and they have a masculine edge to them that may be more aggressive than some palates can support. But where Rostropovich projects through the phrases, Geringas is more prone to distraction, with the hiatuses of his phrases more often signifying frustrating pauses than lilts that gracefully encourage the music to its conclusion.

In a promotional DVD accompanying this release Jean-Guihen Queyras cites the abundance of excellent Bach Cello Suites cycles on the market as one reason he waited until 2007 to commit his interpretations to disc. Queyras needn't have worried, for his playing is never less than beautiful, eloquent, and thoroughly world-class. It fuses the most apparent characteristics distinguishing certain memorable editions: Schiff's shapely melodic parsing, Pergamenschikov's infectious feeling for the dance, Bylsma's period-performance innovations, and Tortelier's purity of tone.

Hyperion is delighted to present the world’s best-loved cello concerto performed by one of the world’s best-loved cellists: national treasure Steven Isserlis. Isserlis has waited 40 years to record this pinnacle of the repertoire, and here with his regular collaborators, the Mahler Chamber Orchestra and Daniel Harding, this long gestation has proved to be overwhelmingly fruitful. Isserlis writes of the concerto that ‘the power of its emotional journey, expressed with Dvorák’s characteristically folk-like simplicity and directness, offers an irresistible mix of the epic and the touchingly confessional’. The combination of emotional power and simplicity is also a feature of Isserlis’s playing, and part of what makes him such a consummate performer of this work.

Guadalupe López-Íñiguez released her debut album with the complete cello works by Gabrielli and Scarlatti, performed on period instruments, in 2017. The record got great reviews around the world. Now López-Íñiguez has got Olga Andryushchenko as a partner for Mendelssohn’s works for cello and piano. With this setup recording has a unique sound and warm feeling. Both musicians are playing with great old instruments. Olga is playing a piano Érard (Paris, 1862), serial number 32602, and Guadalupe performs on a cello by Claude Pieray (Paris, 1725).

French composers had taken little interest in the cello until the 1870s when three wonderful masterpieces were written. Orchestre National de Lyon led by Emmanuel Krivine accompanies the magnificent, Anne Gastinel in performances of cello works by Saint-Saëns, Lalo and Fauré. The vigour, elegance and charm of Saint-Saëns, the expressiveness, imagination and exotic touch of Lalo, the humanity, feeling and depth of Fauré: these three works sum up the spirit of French music.

This release by Norwegian cellist Jonathan Aasgaard (the principal cellist of the Royal Liverpool Philharmonic Orchestra) and British pianist Martin Roscoe purports to be a complete recording of Brahms' music for cello and piano. In fact it's padded with quite a few other things that have little or nothing to do with Brahms other than the fact that he composed the original music.

Cellist Ophélie Gaillard and Pulcinella Orchestra focus on Luigi Boccherini, Italian composer and first virtuoso cellist in history. Born in the Tuscany, Boccherini then went to the Court of Prussa and Spain. His musical education looks like a journey around Europe, as it used to be. Long eclipsed by the violin, star of the string instruments, the cello slowly fit in the eighteenth century repertoire thanks to composers who played the instrument themselves. The now famous Suites of Johan Sebastian Bach are the first master pieces composed for the cello. Then Luigi Boccherini strengthened its place in the musical creation, thus becoming to cello what Vivaldi was to the violin one generation earlier.

Those elusive qualities of ‘transcendental beauty paired with an enchanting simplicity’, eloquently glossed by Alban Gerhardt in his booklet note, might also be said to characterize his playing in this outstanding new recording.

Finnish cellist Max Lilja, one of the founders of Apocalyptica, takes us on an immersive journey across Johann Sebastian Bach’s life; through merging the iconic Cello Suites with an ambient composition, Lilja enlightens the space around the solitary voice.

This disc strikes me as an ideal introduction to the music of Turkey’s greatest composer. Ahmed Adnan Saygun’s style might be described as “Szymanowski with a primal rhythmic feel.” If you love the composer’s First Violin Concerto then you will find here a very similar exoticism, nocturnal atmosphere, and love of voluptuous textures. The harmonic style is intensely chromatic, but also highly melodic. Like Bartók in his last period, Saygun’s handling of tonality mellowed toward the end of his life, which makes the Cello Concerto more consonant than the Viola Concerto, but both works are absolutely gorgeous and masterpieces of their kind. It’s positively criminal that no one plays these pieces regularly in concert. The performances here are excellent. Tim Hugh is a well-known cellist, and he pours on the tone with all of the rhapsodic abandon that Saygun requires. Mirjam Tschopp also is a superb violist, with a big, beefy tone that never gets swamped by the intricate orchestration. It’s also very rewarding to hear a Turkish orchestra in this music–and to find that it plays beautifully under Howard Griffiths.