Search - Johannes Brahms, Felix [1] Mendelssohn, Harold Lawrence :: Brahms, Mendelssohn: Cello Sonatas

Preferable to Serkin / Rostropovich & Ax / Ma

Amazon Enthusiast | 03/18/2006

(5 out of 5 stars)

"The Brahms cello sonatas are favorites of mine. I've owned this recording, the Ma / Ax version on Sony, and the Rostropovich / Serkin version on DG. This version by Starker and Sebok takes the cake. I think Ma's playing is so refined that it can become precious. Rostropovich strikes me as being the opposite: very big and brash and overly macho. The sound quality on the DG recording is also a bit strident. Starker is somewhere in the middle, and I like that. He is probably closer to Ma, but there's a sort of honesty and straighforwardness in Starker that appeals to me more than Ma's refinement or Rostro's brashness. The Mercury sound is also top drawer. The piano is slightly recessed relative to the cello, but the effect is never distracting or unpleasing. The Sony sound is better than the DG, and maybe even slightly preferable to the Mercury. None of the pianists made enough of an impression on me to really comment confidently about their differences. Anyway, I don't think you can go wrong with this disc."

Outstanding

Dermot Elworthy | Florida , United States | 04/02/2008

(5 out of 5 stars)

"Of all the recordings I possess of the Brahms Sonatas, this one is my favourite; not least because it is almost the only one having a proper recorded balance between the 'cello and piano. It has to be admitted, however, that the Colin Carr/Lee Luvisi performances also are well recorded but in my view, their playing lacks some of the sparkle of this offering. So many CDs published are lacking this essential balance but not this one. Whilst the stylised cover illustration is rather quaint and very dated, the recording quality is bang up to the minute.



Gyorgy Sebok and Janos Starker have collaborated in a number of recordings and this is amongst the best. Sebok is a very accomplished pianist and Starker's characteristically strong (almost bold) approach is well suited to the material which by Brahmsian standards, in places is unusually contemplative - even wistful - yet still possessing the hallmarks of his assertive style. The Mendelssohn second Sonata also is excellent - a pity that it was not possible to include the first Mendelssohn 'cello Sonata as well.



Musically, this is a first class offering as might be expected of these consummate instrumentalists but in my view its chief virtue is the piano/'cello balance which is quite excellent; so often the 'cello is overwhelmed to the point of inaudibility by 9 feet of Steinway.



Highly recommended.



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