Beethoven: Complete Works for Piano and Violoncello

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Like Altstaedt, Lonquich has a strong style as a performer, and he gets a powerful sound, offsetting but not entirely erasing the fortepiano’s feathery attacks. The Variations on Handel’s See,... — Fanfare, September/October 2020 More…

Release Date: 1st May 2020
Catalogue No: ALPHA577
Label: Alpha
Length: 2 hours 24 minutes

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Beethoven: Variations (12) on "See the conquering hero comes" for Cello and Piano, WoO 45

Work length12:14

$2.05

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Alexander Lonquich (piano), Nicolas Altstaedt (cello)

Beethoven: Cello Sonata No. 1 in F major, Op. 5 No. 1

Work length23:45

$4.05

$6.05

$8.15

Alexander Lonquich (piano), Nicolas Altstaedt (cello)

I. Adagio sostenuto

Track length2:47

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II. Allegro

Track length14:10

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III. Allegro vivace

Track length6:48

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Beethoven: Cello Sonata No. 2 in G minor, Op. 5 No. 2

Work length28:05

$4.55

$6.85

$9.15

I. Adagio sostenuto ed espressivo

Track length5:33

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II. Allegro molto più tosto presto

Track length14:00

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III. Rondo. Allegro

Track length8:32

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Beethoven: Variations (12) on "Ein Mädchen oder Weibchen" for Cello and Piano, Op. 66

Work length9:46

$1.50

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Alexander Lonquich (piano), Nicolas Altstaedt (cello)

Beethoven: Cello Sonata No. 3 in A major, Op. 69

Work length25:46

$4.55

$6.85

$9.15

Alexander Lonquich (piano), Nicolas Altstaedt (cello)

I. Allegro, ma non troppo

Track length12:10

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II. Scherzo. Allegro molto - Trio

Track length5:06

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III. Adagio - Allegro vivace

Track length8:30

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Beethoven: Variations (7) on "Bei Männern, welche Liebe fühlen", for Cello and Piano, WoO 46

Work length9:16

$1.50

$2.30

$3.05

Alexander Lonquich (piano), Nicolas Altstaedt (cello)

Beethoven: Cello Sonata No. 4 in C major, Op. 102 No. 1

Work length15:09

$4.00

$6.00

$8.20

Alexander Lonquich (piano), Nicolas Altstaedt (cello)

Ia. Andante

Track length2:46

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Ib. Allegro vivace

Track length5:04

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IIa. Adagio

Track length2:54

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IIb. Allegro vivace

Track length4:25

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Beethoven: Cello Sonata No. 5 in D major, Op. 102 No. 2

Work length20:24

$3.50

$5.30

$7.15

Alexander Lonquich (piano), Nicolas Altstaedt (cello)

I. Allegro con brio

Track length6:40

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II. Adagio con molto sentimento d'affetto

Track length8:58

$1.50

$2.30

$3.05

III. Allegro

Track length4:46

$1.00

$1.50

$2.05

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Beethoven’s output for cello and piano is fascinating because it covers every period of his career, from early to late, with references to Bach in op.69 and op.102 no.2 and an especially innovative and amazingly modern musical language. For this complete set, which includes the variations on themes from Handel’s Judas Maccabaeus and Mozart’s Die Zauberflöte, Nicolas Altstaedt was keen to record on an instrument with gut strings, a Guadagnini from Piacenza dated 1749, and using a Classical bow.

Alexander Lonquich, his faithful recital partner – they been inseparable companions since the day Altstaedt replaced his teacher Boris Pergamenschikow at the last minute for a concert of Beethoven sonatas with Lonquich at the Beethovenfest in Bonn in 2004 – here plays a Graf fortepiano of 1826. The combination of these instruments produces a finely balanced sound and exceptional tone colours. This recording is Nicolas Altstaedt’s first for Alpha as a soloist. Others will follow, in very different genres, for eclecticism is the hallmark of this musician, among the most promising of the new generation.

Reviews

September/October 2020

Like Altstaedt, Lonquich has a strong style as a performer, and he gets a powerful sound, offsetting but not entirely erasing the fortepiano’s feathery attacks. The Variations on Handel’s See, the Conqu’ring Hero Comes are beautifully suited to historical instruments in the new release and are artfully interpreted as well. The same holds good for the two sets of variations on tunes from The Magic Flute. For prettiness and charm, these readings are among the best here.

July 2020

Lonquich’s fortepiano has a particularly warm and agreeable tone without any lack of attack. Altstaedt’s sweet upper register yields before the keyboard’s brilliant righthand figuration but his bass notes supply the resonance and depth that the fortepiano can’t deliver. In other words, we really do hear the slightly unstable partnership of equals that so engaged Beethoven’s imagination...But that’s just the baseline. It’s what Altstaedt and Lonquich do with all this sonic potential that fascinates me.

Videos

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Beethoven: Complete Works for Piano and Violoncello

2 CDs

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