1934 PIATIGORSKY Cello ARTUR SCHNABEL Piano Beethoven Sonata G Minor Op 5.2 78
$
25
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Great recording by
Gregor Piatigorsky Cello and Artur Schnabel Piano
Cello Sonata in G minor, op. 5 No. 2
by Ludwig van Beethoven (1770-1827)
Gregor Piatigorsky, cello
Artur Schnabel, piano
London 6. & 16. XII.1934
3x12" pre war gold l label 78 rpm records in original album M281
Condition: EXCELLENT close to pristine rare faintest scuffs, dusty needs cleaning. Plays very quiet some ticks
ALBUM GREAT, small splits on sleeves
THIS IS A CHOICE COPY.
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From the original THE GRAMOPHONE review:
Piatigorsky ('cello) and Schnabel (piano) : Sonata in G minor, Op. 5, No. 2 (Beethoven). H.M.V. DB2391-3 (Three 12 in.-18s.).This is the first recording of the G minor 'cello sonata and none exists of the other number of this opus, in F major. It is little wonder that Beethoven's contemporaries found much that was daring even in these early works : though to us it is plain that originality and convention are frequently at war. Thus, in the G minor sonata, Beethoven opens with a slow movement that promises to be intensely serious in character and anything but clear-cut in its progress. The introductory bars, containing the downward scale passage that is the chief feature of the movement, lead to a short arioso : but Beethoven fails to write a real slow movement, perhaps, as Marian Scott hazards, because he felt that having regard to the piano's short lived notes, quick or moderate paced movements were best. At the same time he gives the 'cello several chances to sing and plenty of room to display itself. Convention often shows itself in the treatment of the downward scale passage, but the sequentially rising phrases, that open Part II, are the real Beethoven, as is also the dramatic coda with its long pauses and sad close. The next movement, Allegro motto, piti tosto presto, follows without a break, and has a clearer sense of direction. If the last movement, Rondo, has a tune that might have come from Haydn it is treated with less brevity and wit than that composer would have used.
Naturally, we have not here music of the quality and inspiration of Beethoven's Op. 69 in A major (of which there are now three recordings), but there is much to interest and please, and the music is most persuasively played by the two artists. Piatigorsky's tone, phrasing, and sensitiveness are lovely. Schnabel is rather too slick and matter-of-fact in comparison and does not always let us forget that Beethoven wrote this work when he was at the height of his powers as a pianist. Those " rushing " passages are great fun if one can play them, but are not meant to stick out quite so much. Otherwise the balance is good, but the piano tone a little metallic and thin.
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