Tatjana Uhde, Michael Uhde - Beethoven Cellosonaten (2021) [Hi-Res]
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BAND/ARTIST: Tatjana Uhde, Michael Uhde
- Title: Beethoven Cellosonaten
- Year Of Release: 2021
- Label: Klarthe Records
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 44.1kHz
- Total Time: 01:57:09
- Total Size: 512 mb / 1.02 gb
- WebSite: Album Preview
Tracklist
CD1
01. Sonate für violoncello und klavier in F Major, Op. 5 No. 1: I. Adagio Sostenuto
02. Sonate für violoncello und klavier in F Major, Op. 5 No. 1: II. Allegro
03. Sonate für violoncello und klavier in F Major, Op. 5 No. 1: III. Rondo-Allegro Vivace
04. Sonate für violoncello und klavier in G Minor, Op. 5 No. 2: I. Adagio sostenuto e espressivo
05. Sonate für violoncello und klavier in G Minor, Op. 5 No. 2: II. Allegro molto più tosto presto
06. Sonate für violoncello und klavier in G Minor, Op. 5 No. 2: III. Rondo, Allegro
CD2
01. Sonate für violoncello und klavier in A Major, Op. 69: I. Allegro ma non tanto
02. Sonate für violoncello und klavier in A Major, Op. 69: II. Scherzo, Allegro molto
03. Sonate für violoncello und klavier in A Major, Op. 69: III. Adagio Cantabile
04. Sonate für violoncello und klavier in A Major, Op. 69: IV. Allegro vivace
05. Sonate für violoncello und klavier in C Major, Op. 102 No. 1: I. Andante
06. Sonate für violoncello und klavier in C Major, Op. 102 No. 1: II. Allegro Vivace
07. Sonate für violoncello und klavier in C Major, Op. 102 No. 1: IV. Allegro vivace
08. Sonate für violoncello und klavier in C Major, Op. 102 No. 1: III. Adagio
09. Sonate für violoncello und klavier in D Major, Op. 102 No. 2: I. Allegro con brio
10. Sonate für violoncello und klavier in D Major, Op. 102 No. 2: II. Adagio con molto sentimento d'affetto
11. Sonate für violoncello und klavier in D Major, Op. 102 No. 2: III. Allegro-Allegro fugato
![Tatjana Uhde, Michael Uhde - Beethoven Cellosonaten (2021) [Hi-Res]](https://www.dibpic.com/uploads/posts/2022-02/1645172614_tatjana-uhde-michael-uhde-beethoven-cellosonaten-2021-back.jpg)
Ludwig van Beethoven wrote five sonatas and three variation sets for piano and cello. Their time of composition spans a relatively long period of almost twenty years (1796-1815) and exceeds, therefore, the fifteen-year time span during which Beethoven composed his ten Violin Sonatas (1797-1812). Considered as a cycle, Beethoven’s Cello Sonatas throw light on his early years in Vienna, on the middle period, and, in Op. 102, on the late style. Recently R. Larry Todd and Marc Moskovitz have investigated all five sonatas in detail in their monograph Beethoven’s Cello: Five Revolutionary Sonatas and Their World (Woodbridge, UK: The Boydell Press, 2017).
The beginning of the Sonata in F major Op. 5 No. 1 represents an ideal opening of the cycle with its questioning gesture, just as the Allegro fugato of the Sonata in D major Op. 102 No. 2 concludes the cylce with a striking and powerful ending. That Beethoven twice combined two sonatas into one opus number (Opp. 5 and 102) contributes to the “cyclical” nature of these sonatas. Of all five sonatas, Op. 69 is the longest and represents the center of this cycle. From the very first note, the cello is placed at the center of the music.
The two sonatas Op. 5 break into new grounds in terms of creating a new genre, that is, a cello sonata in which the cello is not the focus of virtuosity; rather, the cello is revolutionary in terms of its independence and expression, creating, in effect, a partnership with the piano on equal footing.
CD1
01. Sonate für violoncello und klavier in F Major, Op. 5 No. 1: I. Adagio Sostenuto
02. Sonate für violoncello und klavier in F Major, Op. 5 No. 1: II. Allegro
03. Sonate für violoncello und klavier in F Major, Op. 5 No. 1: III. Rondo-Allegro Vivace
04. Sonate für violoncello und klavier in G Minor, Op. 5 No. 2: I. Adagio sostenuto e espressivo
05. Sonate für violoncello und klavier in G Minor, Op. 5 No. 2: II. Allegro molto più tosto presto
06. Sonate für violoncello und klavier in G Minor, Op. 5 No. 2: III. Rondo, Allegro
CD2
01. Sonate für violoncello und klavier in A Major, Op. 69: I. Allegro ma non tanto
02. Sonate für violoncello und klavier in A Major, Op. 69: II. Scherzo, Allegro molto
03. Sonate für violoncello und klavier in A Major, Op. 69: III. Adagio Cantabile
04. Sonate für violoncello und klavier in A Major, Op. 69: IV. Allegro vivace
05. Sonate für violoncello und klavier in C Major, Op. 102 No. 1: I. Andante
06. Sonate für violoncello und klavier in C Major, Op. 102 No. 1: II. Allegro Vivace
07. Sonate für violoncello und klavier in C Major, Op. 102 No. 1: IV. Allegro vivace
08. Sonate für violoncello und klavier in C Major, Op. 102 No. 1: III. Adagio
09. Sonate für violoncello und klavier in D Major, Op. 102 No. 2: I. Allegro con brio
10. Sonate für violoncello und klavier in D Major, Op. 102 No. 2: II. Adagio con molto sentimento d'affetto
11. Sonate für violoncello und klavier in D Major, Op. 102 No. 2: III. Allegro-Allegro fugato
Ludwig van Beethoven wrote five sonatas and three variation sets for piano and cello. Their time of composition spans a relatively long period of almost twenty years (1796-1815) and exceeds, therefore, the fifteen-year time span during which Beethoven composed his ten Violin Sonatas (1797-1812). Considered as a cycle, Beethoven’s Cello Sonatas throw light on his early years in Vienna, on the middle period, and, in Op. 102, on the late style. Recently R. Larry Todd and Marc Moskovitz have investigated all five sonatas in detail in their monograph Beethoven’s Cello: Five Revolutionary Sonatas and Their World (Woodbridge, UK: The Boydell Press, 2017).
The beginning of the Sonata in F major Op. 5 No. 1 represents an ideal opening of the cycle with its questioning gesture, just as the Allegro fugato of the Sonata in D major Op. 102 No. 2 concludes the cylce with a striking and powerful ending. That Beethoven twice combined two sonatas into one opus number (Opp. 5 and 102) contributes to the “cyclical” nature of these sonatas. Of all five sonatas, Op. 69 is the longest and represents the center of this cycle. From the very first note, the cello is placed at the center of the music.
The two sonatas Op. 5 break into new grounds in terms of creating a new genre, that is, a cello sonata in which the cello is not the focus of virtuosity; rather, the cello is revolutionary in terms of its independence and expression, creating, in effect, a partnership with the piano on equal footing.
Year 2021 | Classical | FLAC / APE | HD & Vinyl
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