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Beethoven: Complete Cello Sonatas / Ailbhe McDonagh, John O'Conor

Release Date: 05/07/2021
Label: Steinway & Sons Catalog #: 30181
Composer:  Ludwig van Beethoven Performer:  Ailbhe Mcdonagh ,  John O'Conor Number of Discs: 2

Irish cellist Ailbhe McDonagh and world renowned Beethoven specialist John O'Conor celebrated Beethoven’s 250th anniversary year with this recording of his complete sonatas for cello and piano, which span his entire compositional career.

R E V I E W S:

The communicative power of string instruments is central to classical music and has been for centuries: orchestras, and even smaller ensembles, are typically dominated by string sections, with other instruments adding color and their own forms of expressiveness. So it can be a bit surprising to realize that in some forms, strings’ prominence and independence emerged rather late. Beethoven’s five cello sonatas are instructive in this respect – and also rather
Read more neatly encapsulate the three compositional periods into which the composer’s music is generally divided. Splendid new performances by Ailbhe McDonagh and John O’Conor, released on the Steinway & Sons label, show the similarities and differences among the five sonatas particularly clearly. The first sonatas, Op. 5, Nos. 1 and 2 – in F major and G minor, respectively – are essentially piano works with cello accompaniment. O’Conor strives to provide equality of interpretative standing to McDonagh, who certainly rises to the occasion when given the opportunity, but both these two-movement pieces use the cello more for tonal color (often having it double the left-hand piano part) than for thematic or structural independence. Each work has a long first movement, with a slow introduction and then a faster main section, followed by a rather peppy second movement. These sonatas are sonically somewhat overdone in this performance, with McDonagh’s Andrea Postacchini cello postdating Beethoven’s time and possessing a highly sumptuous sound, and with O’Conor performing on a sonorous modern Steinway quite different from the pianos of Beethoven’s time. The sonic beauty carries through to the third sonata, Op. 69 in A, where it is somewhat more appropriate. Here Beethoven, now in his “middle period,” composes independent material for the cello in much the same way as in his Triple Concerto of the same time frame. This means that cello and piano are much closer to equal partners than in the first two sonatas, with both having virtuosic as well as expressive opportunities throughout the three-movement work. Lasting nearly half an hour, this is the longest of the five sonatas, and in the hands of McDonagh and O’Conor, it is spun out with elegance and a kind of restrained passion that fit it very well. Equally effective, if not more so, are the fourth and fifth sonatas, Op. 102, Nos. 1 in C and 2 in D, which date to the beginning of Beethoven’s “late period” and use the instruments quite differently from the way they are used in the earlier sonatas. These are thoughtful and inward-focused works, despite their key signatures, and here there is genuine dialogue between the instruments, which often pick up and finish each other’s phrases as if ruminating on the same thoughts. The sonorous warmth of the cello and piano used here, even if not truly authentic (especially in the piano’s case), fits the emotional underpinnings of these works quite well. And McDonagh and O’Conor seem highly attuned (so to speak) both to the music and to each other: their balance is flawless, and their pacing has a natural quality that makes it sound as if these works could not possibly be played at any other tempo. The performances on this two-CD set, recorded during the unfortunately much-diminished celebration last year of the 250th anniversary of Beethoven’s birth, clearly show how much Beethoven still has to offer performers and listeners after two-and-a-half centuries.

-- Infodad.com

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With the exception of Wellington's Victory and his Symphony No. 6, not much of Beethoven's music can be found guilty of being influenced by external stimulus or impetus. One could argue that his music is absolute; music in the interest of music. Nor did he write music to test or display a musician's technical prowess or artistry. A case in point are these sonatas which he had published as Sonatas for Piano and Cello, and not as pieces for cello with piano accompaniment. They were conceived as works in sonata form, to be performed by this particular combination of musical instruments. They are, in true Beethoven fashion, musical arguments full of emotional drama and technical innovation, perfectly laid out and worked out from start to finish. Nothing more and nothing less.

It's obvious that Beethoven was a pianist as most of the musical narrative here defaults to that instrument, but there's a constant give and take between the cello and piano, with ideas bouncing back and forth and seamless interplay between the two. Although at times, especially in the slower Adagio movements, the cello assumes the leading role, like a singer with a piano accompanist. Cellist Ailbhe McDonagh and pianist John O'Conor coalesce perfectly, as if propelled by the music's undertow, and echo each other's expressive mien with dynamic balance, as if holding a cordial conversation. I've heard recordings of these sonatas in which the balance of power was off kilter, with one instrumentalist or the other gesticulating like a peacock, to disastrous effect.

Whilst Irish pianist John O'Conor, sometimes labeled as the "Poet of the Piano" and having many recordings under his belt, including the complete Piano Sonatas by Beethoven issued in the 1990s on the Telarc label (remember audiophile Telarc? - I would wager that almost everyone owns a copy of Telarc's 1812 Overture) brings years of experience and backbone to Beethoven's music, relative newcomer Irish cellist Ailbhe McDonagh brings spontaneity and fresh ears to the music, and both compliment each other's approach. As is the norm these days, two young musicians out to impress would play everything fast for the sake of velocity, and two veterans would make everything sound overly pedantic. But this ... this is music making that blends head and heart seamlessly.

-- Classical Music Sentinal

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"Like buses, sets of Beethoven Cello Sonatas obviously come two at a time. And what wonderfully complementary sets these are!

There is a real freshness to Ailbhe McDonagh and John O'Conor in this expansive movement [the first movement of the F major, Op. 5/1]. Both of the Op. 5 Sonatas celebrate expansiveness and experimentation, as if Beethoven were reveling in the cello/piano combination. The slow introduction to the G minor, Op. 5/2 is if anything even more profound than that of its bedfellow. McDonagh and O'Conor are lighter on their feet, a complementary take that itself includes much joy. That light touch suits their finale well, too.

When we come to the Op. 69 Cello Sonata in A, the best-known of the set...McDonagh and O'Conor seem to me even more penetrative to Beethoven's deepest secrets in the opening... It is McDonagh and O'Conor, with their fleet feet, that captivate more in the second movement Allegro molto.

The last two Sonatas date from later: they were composed in 1815 (Op. 102) and there was a seven year gap between Sonatas Nos. 3 and 4. While still some way from the late period intensity of the late String Quartets, there is a mastery here that cannot be denied. ...Ailbhe and O'Conor take the opening of Op. 102/1 to whispered heights, and again later there is a most appealing sense of two-as-one. They also find more buoyant, almost dancing, rhythms."

--ClassicalExplorer.com [Review of Beethoven Cello Sonata sets by Yo-Yo Ma/Emanuel Ax and Ailbhe McDonagh/John O'Connor]

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The Irish duo of Ailbhe McDonagh and John O'Conor make their contributions to the Beethoven 250 celebrations with a double-album set of Beethoven Complete Cello Sonatas 1-5, released in late May and available on all major music platforms.

O'Conor is an acknowledged Beethoven specialist, having won first prize in the International Beethoven Competition in Vienna in 1973, and having recorded the complete piano sonatas as well as the complete piano concertos. McDonagh, who as a child studied piano with O'Conor, is a great partner and clearly on the same level here, the duo being as one with every nuance in dynamics and tempi in outstanding performances.

Recorded in St. Peter's church in Drogheda, Ireland in August of last year, the sound is resonant and warm and the balance excellent.

-- The Whole Note Read less