Alisa Weilerstein and Inon Barnatan’s presentation of Brahms‘ cello sonatas is a testament to their lasting relationship as friends and collaborators. In her liner notes, Weilerstein remarks that the duo has been performing these works since the beginning of their partnership. They also offer a transcription of the G major Violin Sonata, a work Weilerstein feels comes through beautifully with the cello’s character and timbre.
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Plenty of sensitivity can be savored in the opening movement of the E minor Sonata (track 1). Our ears are greeted by Weilerstein’s warm and rich tone, which quickly shifts to something more tender, pleading, and almost ethereal when the cello hits the higher register. Barnatan’s familiarity with the cellist is evident as he transitions seamlessly in his own dynamics to perfectly match the cello.
Occasionally, I wished for a better balance in recording and interpretation; the balance leans slightly toward the cello in more intricate passages, such as the dramatic buildup at 1:30, where the piano’s momentum could come through more clearly.
The Allegretto demonstrates a well-balanced dialogue between cello and piano, with the harmonic richness coming through beautifully as their lines merge. In the final movement, the performers bring distinctive qualities to their phrasing, with subtle differences in articulation adding contrast, though at times it gently shifts the sense of unity.
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Offering a brighter, more symphonic character, the F Major Sonata captures the sweeping nature of the work, though the excitement sometimes feels restrained. In comparison, Yo-Yo Ma and Emanuel Ax’s interpretation achieves a greater sense of tension and drama, particularly in the Allegro Vivace.
A highlight of the album is the Adagio Affettuoso, with Weilerstein delivering passionate phrasing and nuanced upper-register playing. Here, the “human” quality so prominent in Jacqueline du Pré’s version with Daniel Barenboim comes to life, creating moments of genuine emotional resonance. The Allegretto Passionato is polished yet somewhat subdued, and I longed for a fiery edge that’s heard in performances by Christian Poltéra and Ronald Brautigam.
The G Major Violin Sonata transcription is a welcome inclusion, with its expansive first movement standing out. The performers achieve a good blend here, balancing the cello’s depth with the piano’s clarity to create a symphonic texture.
While this album may not replace the finest recordings of these works, it offers sincere, thoughtful interpretations. The duo’s evident affinity for the repertoire makes it an enjoyable listen.
Recommended Comparisons:
Rostropovich & Serkin | Ma & Ax
Isserlis & Hough | du Pré & Barenboim
Brahms
Cello Sonata No. 1, Op. 38
Cello Sonata No. 2. Op. 99
Violin Sonata No. 1, Op. 78 (Arranged by Alisa Weilerstein & Inon Barnatan)
Alisa Weilerstein – Cello
Inon Barnatan – Piano
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Album Details |
|
|---|---|
| Album name | Brahms – Cello Sonatas |
| Label | Pentatone |
| Catalogue No. | 5187215 |
| Amazon Music link | Stream here |
| Apple Music link | Stream here |
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