In their newest album, :Hope amid Tears”, longtime collaborators Yo-Yo Ma and Emanuel Ax perform the complete set of Beethoven’s works for cello and piano. This, of course, closely mirrors their acclaimed 1987 release, minus the WoO 45 variations on Handel’s Judah Maccabee. The album’s title references a time when Beethoven, despite facing personal challenges including his impending deafness, found the resolve to complete some of his finest compositions.
The duo’s rendition of the Op. 5 No. 1 F major Sonata (1796) captures perfectly the essence of early Beethoven: lightheartedness gives way to occasional moments of power and fierceness that would become a larger part of the Middle and Late period works.
A mellifluous unison opens the Adagio – Allegro (track 1). The first few notes already evidence the fact that Ma and Ax understand each other inherently, as they achieve a level of synchronicity and balance rare among duos. When the line finally diverges, a wide range of personalities emerge from dignified to mellow and even playful – and are delivered in a way that emphasizes Beethoven’s suspenseful unpredictability. (Another fine recording by Pereny/Schiff adds a magical touch to the Adagio. The opening line is thoughtful, even dreamy, thanks to a smooth blend of Perenyi’s husky tone and Schiff’s delicate touch). In the Allegro, Ma and Ax treat us to a perfect blend of elegance and energy. The pianist shines with a scintillating clarity in the runs.
Imitative patterns tie the cello and piano together in a wonderfully presented Rondo. Whereas the Adagio shows the duo’s ability to become one voice, the Rondo showcases their ease of conversation. Take the minor section, for instance: the series of calls and responses from 1’52” onwards are not only seamless but also have a satisfying phrasal symmetry. Ma’s accompanimental pizzicatos, pronounced and resonant, add a satisfying depth.
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Fast forward about two decades, and we have the fifth and final cello sonata in D major, Op. 102 No. 2 (1815). As a product of Beethoven’s late period, we notice some differences already in the Allegro con brio (track 10). For one, there is a clear symphonic texture; the carefree elegance that defined Op. 5 is also replaced by a more refined and contemplative style. If we listen to the duo’s version from the ‘80s, the refinement of the recent performance becomes even more salient – for instance, Ax’s tremolos in the 1987 version rumble while the accents bite; the bursts at 0’33”-0’41” of the older recording are also more abrupt but at the same time, electric. It’s impossible to say which recording is better, but the newer one does not lose any authority or heroism in introducing more nuance.
The Adagio con molto sentimento (track 11) reminds me of the middle movement of the Op. 10 No. 3 in its elegy, but with a denser texture and a full maximization of the piano’s low register. The cello’s melodic lines are musically terse in the way that a hymn tune would be, but the way Ma plays them, they sound anything but. Each note is laden with feeling, reminiscent of a voice evoking both pain and profundity. Despite the deliberate tempo, this performance doesn’t drag; if anything, this processional approach gives the listener enough time to fully experience Beethoven’s pathos. The duo wisely considers creating movement in the right places, one of which is the D major section: the fluidity and lyricism here do well to offset the minor section not just musically, but also emotionally. Another comparison of note is the fine interpretation by Rostropovich andRichter: it delivers a little more intensity with the considerably faster pacing, and the cellist’s tighter vibrato – this fuels the string’s line with a yearning that the pianist matches just as well.
The three variations are a delightful addition to the album. I especially enjoyed the Op. 66 12 Variations in F major on “Ein Madchen oder Weibchen (track 15) – Ax infuses it with humor and grace, while Ma brings warmth and lyricism.
For all the wonderful playing here, it’s a shame that the sound balance is not quite up to par. In moments of the F major sonata and Op. 66 Variations, a noticeable weight is placed on the cello. While this amplifies Ma’s already flawless playing, it’s at the cost of the piano, which seems relegated to a farther corner of the room. Ax, too, has so many nuances to offer which would do well to be better featured. This small misstep aside, the album is a testament to Ma and Ax’s unparalleled musicianship, and proves that even the finest of musicians get still better with time.
Beethoven – Cello Sonatas No. 1-5, Variations WoO 45, 46, Op. 66
Yo Yo Ma – Cello
Emanuel Ax – Piano
Sony Classical, CD G010004559927O
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