# Favorite Cello Sonata



## Edward Elgar

There seems to be so many of these gems out there, I'd be interested to know your favourites.

Personally I enjoy Rachmaninov's attempt at combining the beauty of both the cello and piano. I also like the Debussy and Prokofiev cello sonatas.


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## confuoco

Debussy and Brahms No. 2


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## opus67

At the moment, Beethoven's No.3. I haven't heard a lot of them.


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## oisfetz

The two Miaskovsky's. Beautiful
Enescu's
Chopin's
Saint-Saëns'
Faure
Kodaly's
Magnard's


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## opus67

I'm listening to Brahms' No.1* as I type and loving it.

*Rostropovich and Serkin are playing


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## shsherm

Cesar Franck's Sonata for Violin and Piano has been transcribed for cello and although I prefer the violin version, the music is still quite pretty.


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## oisfetz

Franck's son.has been transcribed also for viola and for flute. It sounds
great in every instrument, because is a magnificent piece.


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## World Violist

Indeed, Franck's is amazing. I personally prefer the little of Debussy's that I've heard and the Brahms and Beethoven sonatas.


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## confuoco

oisfetz said:


> Franck's son.has been transcribed also for viola and for flute. It sounds
> great in every instrument, because is a magnificent piece.


I think that composer's think of instrumentation should be respected. Transposing violin piece for instrument of so different sound and expression abilities as flute is nonsense. And only reason is that flute hasn't big repertoir. But I accept only original versions. Franck's sonata is for me violin sonata and not even cello.


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## oisfetz

So, I suppose you hate Prokofiev's "violin sonata No.2", because
is only a transcription from his flute sonata.


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## Lance

My absolute favs would be Rachmaninov's sonata (The Andante of course!) and also Richard Strauss' sonata (particularly the 1st movement)


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## confuoco

oisfetz said:


> So, I suppose you hate Prokofiev's "violin sonata No.2", because
> is only a transcription from his flute sonata.


I don't hate it. I didn't listen to it, I know only flute version. And there si one important thing - if work was transcribed by composer himself or someone else later. I think this was made by Prokofiev, so I am able to accept it. But I ask: what was the reason for transcription? Was it, that this sonata was "too good" "only" for flute? No doubt, I prefer original version.


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## oisfetz

It was not a Sergei's idea, but DFO one. They worked together
on it. The result is one of the most beautiful v.s.of 20th.cent.
And INMH, much,much better that the original flute.
I wonder what would you think of the french flutist Jules Herman
transcription to solo flute of the Paganini's 24?


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## confuoco

oisfetz said:


> It was not a Sergei's idea, but DFO one. They worked together
> on it. The result is one of the most beautiful v.s.of 20th.cent.
> And INMH, much,much better that the original flute.
> I wonder what would you think of the french flutist Jules Herman
> transcription to solo flute of the Paganini's 24?


Much, much better in what? You said that it is "only transcription". And provocative question: why it is so beuatiful? Maybe beacuse Prokofiev composed it with flute on his mind and not violin?

I don't know it, I can't know million transcription of this capriccio for million instruments and million combinations of instruments.

I am just conservative and I don't like transcriptions. I play the clarinet and I play only works originally composed for clarinet. I dont like any interference to composer's idea. Often it leads to nonsense like Mozart Piano concertos with jazz cadenzas and other.

But of course there are some exceptions. But when I listen to transcription, I like I'm listening to some "second-hand" work. This is the main reason.

And also, if we admit transcriptions as equal to original works, the thread called "Favorite Cello Sonata" wouldn't be well-founded, because probably every sonata in the world can be also transcribed for cello.


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## oisfetz

The trick is to forget the original, and consider the transcription
as a separate and individual work. That way,one can really enjoy
for example the dozens of magnificent Liszt's transcriptions to
the piano of many works, including LvB 9 symphonies and Berlioz's
Fantastic and Harold in Italy, or the incredible arrangement of
Nathan Milstein of Liszt's first Mephisto Walz to solo violin.


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## shsherm

The other way around can also work quite nicely-Pictures At An Exhibition was a piano piece and the orchestral versions are among audience favorites.


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## confuoco

I think when you are doing transcription, only thing you can't forget is the original . Liszt's transcripitons are maybe good if you are pianist and have irresistible longing to play "symphony". But it is interesting for me as a listener? Not. Transcriptions of works made by other composers are works of "lower category".


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## confuoco

shsherm said:


> The other way around can also work quite nicely-Pictures At An Exhibition was a piano piece and the orchestral versions are among audience favorites.


Yes, this is one of the exceptions. In this case instrumentation gave new dimension to the work. Also, sometimes are transcripiton very useful, especially for students and amateur players (piano reductions of orchestral parts in concertos).

But I just think that transcriptions are in 95 % less interesting than originals and audience knows it. For example Schoenberg's orchestration of Brahm's Piano Quartet in g minor. It exists, but how often can you hear it in the concert hall?


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## oisfetz

Do you like Tartini's "Devils Trill" sonata for violin and piano?
Well, nearly nobody plays the solo violin original. Everybody plays
Kreisler's arrangement. And what about Mussorsky's symphonic
works?. Listening to them, you are really hearing Rimsky-Korsakoff.
And if you are fan of Chopin's nocturnes, it's a sin listening to the 
Sarasate,Milstein or Ricci transcriptions for violin and piano.


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## confuoco

Good example...Rimsky-Korsakoff' changes in Mussorgsky's partitures scholars consider to be negative feature today. I and very good understand why. For example Slovak National Theater has Mussorgsky's original long version of Boris Godunov on the repertoir. I wouldn't go to the performance of Rimsky-Korsakoff version. That is just my opinion, I said all to the topic of transcriptions.


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## LvB

Going back to the original topic.... 

Both of Rubinstein's sonatas (Op. 18 & Op. 39) are delightful, but a proper performance of the first can be really astonishing; there's kind of tragic grandeur at the climax of the last movement that's really moving. I've noticed that most recordings of the second are not complete, so you have to be careful about judging the piece based on a recording.


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## altiste

Last week I heard the Elliott Carter Cello Sonata performed in a concert as part of a series of concerts celebrating this composer. It was performed by Armance Quéro (cello) and Yuiko Yasuda (piano). The Cello Sonata was written in 1948, so is written in a much more traditional language than Carter's works after 1950. It's a great work, and I recommend it to anyone who has never heard it. In four movements: 1. Moderato 2. Vivace, molto leggiero, 3. Adagio 4. Allegrio. The writing in the third movement is particularly beautiful. I would definitely say it's one of my favourite cello sonatas.


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## LindenLea

BBC Radio 3 'Building a Library' on Saturday featured the *Beethoven Cello Sonata No. 4 in C Op. 102 No. 1.* I have a couple of recordings of the Beethoven Cello Sonatas, both the Opus 5 set and the much finer Op 102 set, my favourite being the recording by Martha Argerich and Mischa Maisky on DG. Maisky's rich mellow cello tone is very seductive, and though the great Argerich does perhaps tend to dominate rather more than one would like, they do blend beautifully together, especially in the short adagio. The whole performance is so ethereal and tender, these are some of Beethoven's finest 'chamber' works.


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## Taneyev

About LvB cello sonatas, IMHO there is no better version than Fournier-Schnabel in the 40s. For this kind or works, Maisky is an amateur, and Martha as always run, run, run.


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## Edward Elgar

Any one heard James Macmillan's cello sonatas? For me, they are works of immense power and beauty, I'd strongly recomend! They are sometimes quite minimalist and fragile, but then shock you with a violent episode of deadly piano rumbles and cello tremolos. When I first heard these pieces I couldn't believe a cello could make such a frightening sound!


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## Bach

Chopin's Cello Sonata?


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## World Violist

I'm beginning to really appreciate the two cello sonatas of Enescu. The first one is very Brahmsian, whereas the second, from some 30 years later, is fully Enescu, rhapsodic and free. An interesting thing about them is that they are put under the same opus number, but they are decades apart.


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## livemylife

Rachmaninoff and Chopin. 
Debussy is nice also.
And one Beethoven... probably the most famous one.


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## Margaret

Prokofiev's for cello and piano. I love the interplay between the instruments and Prokofiev's one of my favorite composers.

Beethoven's, too. But I like all of Beethoven's chamber music that I've heard.

There are some recommendations on this thread that I've never heard of so I'll have to check them out.


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## hdk132

Margaret said:


> Prokofiev's for cello and piano. I love the interplay between the instruments and Prokofiev's one of my favorite composers.


Well put! I have the Ma/Axe version along with the Rachmaninov. The Rachmaninov is very hard to listen to (at least for me).



Margaret said:


> Beethoven's, too. But I like all of Beethoven's chamber music that I've heard.


Definetly: A-maj sonata. It has lyrics too:
"Can't you see, I hate this ****ing sonata, because I'm all alone"
"I'm coming never fear"
"I'm coming never fear" 8va
"Here I come, Here I come, Here I am!"


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## livemylife

hdk132 said:


> The Rachmaninov is very hard to listen to (at least for me).


Why is that hdk??


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## hdk132

Well, I'm only a kid and I grew up listening to my dad's collection which is massive but doesn't go past 1800. I love romantic music and my musical tastes have been dramatically developing, but I still can't fully understand anything written after around 1920. Once we start talking 20th century, modal, a-tonal, and contemporary I kinda get lost. I first heard the Rachmaninov a year or two ago and I didn't get it at all. Now I understand alot of it. I think some of what is bothering me is the piano parts during the passonate, legato phrases. The cello has these great melodies, but the piano has this loud, Debussey-ish mushy arpeggio part that I do not particularly care for.


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## Lisztfreak

I've heard only a few cello sonatas, that's a pity, since the instruments involved might well be my favourite instruments. But I really like Debussy, Fauré, Shostakovich and Brahms' 2nd.


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## livemylife

Lisztfreak said:


> I've heard only a few cello sonatas, that's a pity, since the instruments involved might well be my favourite instruments. But I really like Debussy, Fauré, Shostakovich and Brahms' 2nd.


Shosty is so fun to play!! I love the 1st & 2nd movements.


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## Head_case

Another vote for the elegiacally sublime Myaskovsky's Cello Sonatas No.1 & No.2.

There are so many epic versions of this: the original 1957 by Rostropovich; the 90's version by Tarasova on Olympia Discs and the Virgin Classics version by Truls Mork. 

I like Shostakovich' and Kabalevsky's cello concertos too. Much less than Myaskovsky though.


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## Aramis

Grieg's sonata is one of greatest, and yet it's still less popular than it deserves. Others have been mentioned - Rach, Brah, Shos, Chop, Fra...

Btw, theme from last movement of Rachmaninoff's sonata sound like theme from cheap TV series about Robin Hood.


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## jurianbai

Dvorak's cello sonatas is among my favorite. the other which is memorable for me is Chopin cello sonata, mainly because I already see this live and it's such a beautiful one.


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## joen_cph

Dvoraks cello sonatas ? Could you specify
the recording if possible since I haven´t heard
of any real cello ones by Antonin D ?


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## jurianbai

you are right, it's a Cello sonata in F minor B20 and then I maybe mixed up the Rondo for Cello + orchestra.


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## Jaime77

love Debussy's cello sonata


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## hankz

Beethoven Sonata for Cello and Piano in A-Major.


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## muxamed

Aramis said:


> Grieg's sonata is one of greatest, and yet it's still less popular than it deserves. Others have been mentioned - Rach, Brah, Shos, Chop, Fra...
> 
> Btw, theme from last movement of Rachmaninoff's sonata sound like theme from cheap TV series about Robin Hood.


I agree. Grieg's cello sonata is wonderful. There is a great recording on the Virgin label with Truls Mork (cello) and Havard Gimse (piano). The sonata is coupled with Grieg's string quartet. It is highly recommended.


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## Jaime77

Always loved the Grieg Cello Sonata in A Minor. It is so passionate and 'gutsy' and some lovely harmonies.


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## Taneyev

About Grieg's you should look for Rostropovich-Richter live (1964), an Italian "Notes" CD


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## Jaime77

Thank U Taneyev ;-)


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## Sid James

Add Schnittke's _Cello Sonata_ to the other Russians above. Some haunting, lonely melodies in the outer slow movements & a spiky middle movement which reminds me of Prokofiev, but kind of more demented and repetitive. I have it played by Maria Kleigel on Naxos...


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## Romantic Geek

Like others, I've only heard a few cello sonatas, but the Rachmaninoff one is exquisite, especially the 2nd movement. The Grieg first movement is some of the best writing I think he ever did.


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## muxamed

I really like Martinu's cello sonatas.


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## thatperson

Hmmmm...

I'd say Debussy, shostakovich, kodaly solo sonata, barber, the 3 martinu sonatas, stravinsky suite italiene, both brahms sonatas, and definitely all of the beethoven sonatas


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## TWhite

I'm approaching this as a pianist, even though the cello is my favorite string instrument, so I'll comment on the Sonata's that I've partnered, which are three pretty demanding ones IMO.

I adore the Rachmaninov--even though the piano part is extremely demanding, I think the equality between the two instruments is very well thought out. It's in the same key as the Chopin Cello Sonata--and influenced by it a little--but I think that Rachmaninov had a much better idea of 'balance' between the two instruments than Chopin. The Chopin G-minor for me, seems to be for piano and whoever else shows up for the recital. The Rachmaninov showcases both instruments in a very fine and sensitive pairing as equals. And the second movement can leave the listener breathless. IMO, it's one of Rachmaninov's best works. And we're speaking of a composer that I have a HELL of a lot of respect for. 

The Brahms E-minor seems to be favored by a lot of 'cellists, and for good reason, I think. Very demanding for both instruments. The finale is particularly tricky, as the piano can overpower the cello unless a lot of very concentrated rehearsal is done. But it and the second Cello Sonata are extremely rewarding for both instruments. IMO, Brahms always knew exactly what he was striving for in music, and ALWAYS achieved it. I have trouble thinking of a better or more rewarding composer to play. 

The Franck seems to be a conundrum--it's a 'transcription' of the Violin Sonata, and for me, at least, several things don't work. Though the first, third and fourth movements seem to fit the cello and piano well, the second movement just doesn't work for me (but then it doesn't work in the Violin original either, IMO). Too much absolute piano there, and really, too technically difficult (and unrewarding, IMO) for the piano to begin with. My favorite movement--the Canon Finale. It actually seems to work better for cello than the original violin version. The instruments seem closer in pitch and much more complimentary to each other. I've played both the Violin and Cello versions, and tonally and 'in register', the cello seems a lot more comfortable to work with. 

Well, that's my experience with my favorite string instrument, so in that context at least, I'd rank Rachmaninov first, the two Brahms a VERY close second, and the Franck transcription third. 

Okay, it's limited, but those are my opinions. Of the ones I've heard and haven't played, I've been extremely fascinated by the Richard Strauss and the Samuel Barber--both excellent IMO. 

Tom


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