Search - Mendelssohn, Klein, Beldi :: Cello Sonatas 1 & 2 / Lied Ohne Worte

Treasures that expect to be discovered!

Hiram Gomez Pardo | Valencia, Venezuela | 08/24/2006

(5 out of 5 stars)

"With the arrival of the French revolution, the genre of chamber music, by definition belonged to musical elites; due its own intimate nature. As we know the Opera, as mass spectacle permitted a lot of people, not necessarily instructed could understand the whole meaning because it just was a simple representation of their quotidian problems, the symphonic genre acquired too, special resonance. It's not a mere casualty Vienna until Rossini' s arrival, London and Berlin the chamber music could subsist. In this sense Nicolo Paganini and Franz Liszt redefined (or disfigured?), the Concert Halls as spectacle, as evasion device, as delirious circus to watch the performer in real tours de force. Louis Moreau Gottschalk in USA (with that famous Concert of more than one hundred pianists in concert) promoted still more this modern practice.



Besides the fact that the symphonic genre has climbed a special peak with Beethoven, possibly made Brahms and Mendelssohn turned his eyes toward the Choral music and the strengthening of the chamber music genre with admirable results.



Mendelssohn' s chamber music's genre is for many people a huge wasteland. Most of audiences just know about the famous Octet and his String quartet Op. 44, which by Itself is a huge shame.



If we - just for a moment - disregard the sumptuous and emblematic Cello Sonatas of Ludwig van Beethoven and focus our attention in this genre, we should to include this set of Sonatas among the most emblematic works in this genre.



These pages are simply ornamental works, that lack of the glister, lyrical flight and sumptuousness of let's say Johannes Brahms, but are worthy to be appreciated and listened in major grade.



Go for this album. It will reward you.

"