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Belle Époque 1886

Cello Sonatas by César Franck and Benjamin Godard

Corinne Morris (cello), Petr Limonov (piano)

Morris and Limonov have a very supple way of shaping phrases and at the same time supplying energy and rhythmic incisiveness when they are called for. Limonov’s fleet-fingered, articulate pianism...

Belle Époque 1886

Cello Sonatas by César Franck and Benjamin Godard

Corinne Morris (cello), Petr Limonov (piano)

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Morris and Limonov have a very supple way of shaping phrases and at the same time supplying energy and rhythmic incisiveness when they are called for. Limonov’s fleet-fingered, articulate pianism...

About

SOMM RECORDINGS Belle Époque 1886 celebrates a golden age of French chamber music, uniquely coupling Cello Sonatas by César Franck and Benjamin Godard. Francks A major and Godards D minor Sonatas were both composed in 1886 when French composers were replacing Austro-German dominance with a native, vernacular style. Making their debuts on SOMM are cellist Corinne Morris and pianist Petr Limonov. Of Anglo-French heritage, Morris continues to reveal herself a formidable musician. She made a triumphant comeback after a shoulder injury forced her to withdraw from the concert platform for more than five years. She has been hailed by Mstislav Rostropovich as Corinotchka, my colleague while Paul Tortelier wrote My warmest wishes are for Corinne and her art. With a burgeoning profile at the keyboard and conductors podium, Russian-British pianist Petr Limonov has been described as an extremely multi-faceted, phenomenal musician who has an endless array of abilities (Classical Music magazine).

Contents and tracklist

I. Allegretto ben moderato
Track length7:06
II. Allegro
Track length9:30
III. Recitativo-Fantasia. Ben moderato
Track length8:12
IV. Allegretto poco mosso
Track length7:32
I. Moderato
Track length13:04
II. Adagio non troppo
Track length7:52
III. Vivace ma non troppo
Track length11:04

Awards and reviews

September/October 2021

Morris and Limonov have a very supple way of shaping phrases and at the same time supplying energy and rhythmic incisiveness when they are called for. Limonov’s fleet-fingered, articulate pianism is particularly effective in the last movement of the Godard, and Morris’s ability to give shape to a long-lined melody comes to the fore in the Adagio non troppo second movement.

April 2021

This is one of the longer accounts [of the Franck] on record; the mood is intense and climaxes are craggy and imposingly prepared.

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