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Ludwig van Beethoven: Complete Works for Cello and Piano

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Ludwig van BeethovenComplete Works for Cello and Piano

Beethoven live in St Petersburg: this concert recording from the Small Hall of the St Petersburg Philharmonia displays the performers’ captivating musicianship and technical perfection. Interpreters and audience come together as a whole in this hall, steeped in tradition, where the joy of playing and the ingenuity of the works create a powerful listening experience.more

Ludwig van Beethoven

"Fresh, bright and unmannered, well differentiated performances of Beethoven’s music for cello and piano. The recording is very well balanced, giving the piano a strong but obviously correct presence." (Pizzicato)

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​A live concert recording from St Petersburg:
Beethoven composed a total of eight works for cello and piano, whose sheer joy and ingenuity are hard to beat and are wonderfully captured in this live recording. The French cellist Marc Coppey and Peter Laul, his St Petersburg partner at the piano, perform these works with great character and energy, creating an impeccable, sparkling sound in the popular variations and substantial sonatas. Even in a live situation, the technical perfection of the performers is impressive.

As a venue for their "Beethoven marathon", they opted for the Small Hall of the St Petersburg Philharmonia: its historical ambience, steeped in tradition, and the supremely attentive audience create atmosphere as well as inspiration. Both are features of this recording, setting it apart from other complete recordings of these popular works, most of which are studio recordings. The hall's resident Steinway and the recording equipment from the former Melodya studios complete the Saint Petersburg ensemble.

Reviews

Gramophone
Gramophone | August 2018 | Richard Bratby | August 1, 2018

Beethoven’s solo cello music is enjoying a moment in the sun right now, with a series of excellent new recordings (including François-FrédéricMehr lesen

Beethoven’s solo cello music is enjoying a moment in the sun right now, with a series of excellent new recordings (including François-Frédéric Guy and Xavier Phillips’s Gramophone Award-nominated set – Evidence Classics, 1/16) plus a comprehensive new study by Marc Moskovitz and Larry Todd (Boydell & Brewer). And rightly: the five sonatas respresent Beethoven in the laboratory – each one an inventive, radically individual experiment in texture and form – while the sets of variations are entertainment music at its most ingeniously playful. Marc Coppey and Peter Laul have set out to capture some of that sense of spontaneity and risk. They recorded this complete cycle in a single marathon live performance in the Small Hall of the St Petersburg Philharmonia – the venue where Beethoven’s Missa solemnis received its first performance in 1824. And they never flag: from the first climax of Op 5 No 1 to the thunderous closing fugue of Op 102 No 2, these performances are brisk, alert and almost supernaturally energetic.

But while the recorded acoustic – which slightly favours the piano – is reasonably well balanced and clear, this still feels unmistakably like live performance. The tension can be exhilarating: sforzando chords explode off the page; there’s an exuberant theatricality to the extraordinary cadenza-à-deux near the end of the first movement of Op 5 No 1; and the livelier variations – as well as the Haydnesque finales of Op 5 No 2 and Op 69 – go with a headlong swagger and a swing.

In short, there’s a continual static-buzz of excitement throughout these two discs. These are performances of extremes, with a strong leaning to the extrovert, and you might prefer more of a sense of inwardness and space in the slower variations, say, or the Adagio of Op 102 No 2. Moments of reflection are rare here, and the questioning, fantastic mood that opens Op 102 No 1 doesn’t really survive the first Allegro, just as the pair never find an entirely persuasive path between lyricism and display in Op 69. Marc Coppey’s cello tone, mellow on the lower strings, can be slightly constrained at altitude, while Laul’s bright, bravura pianism leaves little scope for mystery or indeed refinement.

If asked to choose, I’d say the G minor Sonata, Op 5 No 2, is perhaps the single most convincing performance here; it’s a work that thrives on volatility and outsize gestures. This is not to belittle Coppey and Laul’s achievement, or the verve and conviction of these performances. But a thrilling live occasion doesn’t always make for a great recording, and this set is perhaps too headstrong and too relentless for endto-end listening. No one wants vanilla Beethoven but there is more subtlety to this music than you’ll find here. And, at present, it’s fairly easy to find it elsewhere.
Beethoven’s solo cello music is enjoying a moment in the sun right now, with a series of excellent new recordings (including François-Frédéric

Diapason
Diapason | N° 670 Juillet - Août 2018 | Martine D. Mergeay | July 1, 2018

Le dialogue de Manuel Fischer-Dieskau (fils de Dietrich) avec la Canadienne Connie Shih conjugue les sonorités pures, modérément vibrées et trèsMehr lesen

Le dialogue de Manuel Fischer-Dieskau (fils de Dietrich) avec la Canadienne Connie Shih conjugue les sonorités pures, modérément vibrées et très justes du violoncelle, à celles d'un piano agile mais plutôt sec, d'approche plus classique que romantique. Les tempos sont assez rapides, la technique est sûre, les intentions soignées. Et pourtant ... Excès de révérence à I'égard du Mâitre de Bonn? Manque d'appropriation de la partition? L'ensemble est singulièrement dépourvu de tension, notamment parce que les musiciens ne font pas assez vivre la dynamique reliant ou opposant leurs deux instruments. Le discours, certes raffiné, perd une partie de sa substance. Les timides vagues de crescendos / decrescendos ne sauraient tenir lieu de contenu expressif. Reste une version suffisamment séduisante pour inciter I'auditeur a prendre une part du travail.

A I'autre bout de la galaxie, Audite confie les cinq sonates et les trois cahiers de variations au violoncelliste francais Marc Coppey et au pianiste russe Peter Laul. Les variations bénéficient, contrairement au jeu un peu maigre de Connie Shih, d'un piano ne demandant qu'a se faire Iyrique, chaleureux ou brillant, devant son partenaire (qui garde un peu plus de réserve). Forts du lien organique avec un répertoire qu'ils pratiquent ensemble depuis plus de vingt ans, Coppey et Laul habitent un Beethoven résolument romantique, porté par de grandes envolées et, pour le coup, par une tension considérable. Un tour de force dans ces tempos très lents (trop pour l'Opus 15 n° 1). Les interprètes visent la grande ligne ; le déroulé dramatique de la partition, avec ses alternances de véhémence et de confidence, I'emporte sur le relief contrapuntique. Pour I'esprit, pour I'humour évasif ou féroce, mieux vaut retourner à quelques versions d'élite – ca cogne plus d'une fois, et le scherzo de l'Opus 69 est carrément lourdaud ... L'énergie foisonnante du duo serait sans doute irrésistible dans la salle de concert, mais à I'épreuve du disque, elle avoue quelques limites.
Le dialogue de Manuel Fischer-Dieskau (fils de Dietrich) avec la Canadienne Connie Shih conjugue les sonorités pures, modérément vibrées et très

A Tempo - Das Lebensmagazin | Juli 2018 | Sebastian Hoch | July 1, 2018 Alles ist hier anders

Der französische Cellist Marc Coppey, technisch glänzender Könner an seinem Instrument, ist nun gemeinsam mit seinem nicht minder virtuosen russischen Klavierpartner Peter Laul das Risiko eingegangen, das Gesamtwerk Beethovens für Violoncello und Klavier [...] als Livekonzert aufzunehmen. [...] Und dieses Risiko lohnte: Selten ist das ungewöhnliche und sonderbare, das befreiende und schöne der Cellowerke Ludwig van Beethovens überzeugender nachhörbar geworden [...].Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Der französische Cellist Marc Coppey, technisch glänzender Könner an seinem Instrument, ist nun gemeinsam mit seinem nicht minder virtuosen russischen Klavierpartner Peter Laul das Risiko eingegangen, das Gesamtwerk Beethovens für Violoncello und Klavier [...] als Livekonzert aufzunehmen. [...] Und dieses Risiko lohnte: Selten ist das ungewöhnliche und sonderbare, das befreiende und schöne der Cellowerke Ludwig van Beethovens überzeugender nachhörbar geworden [...].

Infodad.com | June 28, 2018 | June 28, 2018 | source: http://transcent... Beethoven and Brahms: still surprising

Only musicians of the highest caliber would even be likely to attempt a survey of this sort on the basis of live recordings. That Coppey and Laul bring it off successfully is genuinely remarkable. The two play together with such solidity and refinement that it is often impossible to say which of them is taking the lead and who is taking the accompaniment role.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Only musicians of the highest caliber would even be likely to attempt a survey of this sort on the basis of live recordings. That Coppey and Laul bring it off successfully is genuinely remarkable. The two play together with such solidity and refinement that it is often impossible to say which of them is taking the lead and who is taking the accompaniment role.

Strings Magazine
Strings Magazine | June 15, 2018 | Laurence Vittes | June 15, 2018 | source: http://stringsma... Cellist Marc Coppey on Beethoven’s Works for Cello & Piano

Marc Coppey‘s superb new recording of Beethoven’s five sonatas and three sets of variations for cello and piano (Audite) with Peter Laul exploresMehr lesen

Marc Coppey‘s superb new recording of Beethoven’s five sonatas and three sets of variations for cello and piano (Audite) with Peter Laul explores the composer’s extraordinary, evolutionary use of the cello-piano combination. It was recorded live during two nights in St. Petersburg, Russia. These lyrical, sunny readings capture, even at moments of greatest spiritual and emotional intensity, Beethoven’s purely physical delight in instrumental sound and virtuosity, and the dimensions of his humanity.

The two sets of Magic Flute variations actually sound like an homage to Mozart, while the concluding Fugue for the last Sonata has a serenity and resignation of command that suggests Prospero. Despite having played the music for 20 years, Coppey and Laul make seemingly spontaneous discoveries and show this with communicative awareness of a narrative that makes live performances so special.

Playing his 1711 Goffriller, using a modern French bow, a mix of gut and metal strings, and the blue Henle edition of the score, Coppey finds a magical, illuminating groove that perfectly integrates the hip and the modern.

Coppey opted for the Small Hall of the St. Petersburg Philharmonia, where the premieres of Haydn’s Creation (1802) and Beethoven’s Missa Solemnis (1824) took place. The hall’s resident Steinway and the recording equipment from the former Melodiya studios completed the Saint Petersburg ensemble.

I spoke to Marc just before his annual chamber music festival in Colmar, France.


Does Beethoven’s music for cello also separate out in three periods, like the quartets and piano sonatas?

I think so. In the first two sonatas he is not as daring and the balance is very much in favor of the cello. The third one, however, has the kind of perfect balance that other major middle-period Beethoven has, like the Razumovsky Quartets and the Violin Concerto. He uses both instruments with absolute freedom and it’s total cello—with an incredible balance between their expressive capacities and tonal qualities.

And the last two sonatas, Op. 102, must be the late period.

The last two sonatas are what make it a unique set. Of course they’re smaller than the late quartets, but only the quartets, the piano sonatas, and the cello sonatas have these three major phases. And in this last phase for the cello sonatas it’s about anything you can imagine that can happen between two instruments.

Such as?

Such as the absurd fugue between two manifestly unequal fugue partners in the last movement of the last sonata. And to think that it comes after the only really slow movement in the whole set. But even though it’s a joyful, jubilant fugue, Beethoven still embraces within it the tender feelings associated with his close friend and its dedicatee Countess Anna Marie Erdödy. The last sonata is also in the long tradition, from Bach to Schoenberg, of the opposition between D major and D minor representing death and transfiguration, or death and resurrection. This last sonata is part of that and closes the five sonatas in the most glorious way

How early did you begin playing Beethoven?

I started playing Beethoven when I was really young, ten or 11. My teacher came with the music to my lessons and read them with me. I had only been playing the cello for two years but I still have a vivid memory of hearing the music for the first time. You know, Beethoven wrote wonderfully for the cello because he knew everything there was to know about the instrument, and so I learned to love the cello.

Why are your Magic Flute variations so successful?

From his earliest years, Beethoven combined the different voices of the cello; in the Magic Flute variations it sounds like each variation was for a different person onstage. They are like little operas that define the modern cello being an instrument that is more than beauty and being close to the human voice. In these variations Beethoven is close to human voices plural, as if he were speaking to us through the cello. There is something in general about the quality of the cello which lends itself to storytelling because of the variety and the dramatic aspects of the sound.

You recorded in St. Petersburg because of the connection to the first performances of Beethoven’s works, many of which took place there during his lifetime.

And because of the great acoustics, and the wonderful audiences. You can really project in the hall’s powerful, generous acoustic—but it’s not too big either, it’s very well balanced. There were a few cellists and musicians at the performances; but mostly the general public. The hall was sold out. It’s like that in Russia; audiences there are really passionate.

You recorded over two nights.

It was a challenge, but we’d been playing the sonatas for 20 years, and felt we could handle it. We were also at a phase in our lives when we felt more into the risk of live concerts—and basically because playing Beethoven not on the edge is not being Beethovenian.
Marc Coppey‘s superb new recording of Beethoven’s five sonatas and three sets of variations for cello and piano (Audite) with Peter Laul explores

opushd.net - opus haute définition e-magazine
opushd.net - opus haute définition e-magazine | 05.06.2018 | Jean-Jacques Millo | June 5, 2018 | source: http://www.opush...

With exalting energy, spontaneity at each moment, and undeniable expressive fervor, Marc Coppey and Peter Laul give Beethoven’s music a true “face;” here it is at its most inventive, at its warmest, at its most authentic, one could say. The passion of these two artists is evident from beginning to end of these admirable scores, offering, sharing the most human character of a creator of genius. This is art in its universal dimension.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
With exalting energy, spontaneity at each moment, and undeniable expressive fervor, Marc Coppey and Peter Laul give Beethoven’s music a true “face;” here it is at its most inventive, at its warmest, at its most authentic, one could say. The passion of these two artists is evident from beginning to end of these admirable scores, offering, sharing the most human character of a creator of genius. This is art in its universal dimension.

Fono Forum
Fono Forum | Juni 2018 | Ole Pflüger | June 1, 2018

Wenn ein markerschütternder Ton in ein ansonsten stilles Notenfeld kracht oder Brüllen unvermittelt zum Flüstern wird, haben Marc Coppey und PeterMehr lesen

Wenn ein markerschütternder Ton in ein ansonsten stilles Notenfeld kracht oder Brüllen unvermittelt zum Flüstern wird, haben Marc Coppey und Peter Laul ihre besten Momente. Denn sie meißeln die scharfen Konturen aus Beethovens Musik hervor, bringen ihre ganze Drastik zum Klingen. Gelegentlich wirkt die Aufnahme aber etwas hölzern, weil die Interpreten das schnelle Tempo scheuen. Zum Beispiel stapfen sie durch den zweiten Satz der A-Dur-Sonate, der dadurch viel von seinem Witz einbüßt. Sonst tummeln sich an dieser Stelle überdrehte Synkopen, aber hier klingen die Pointen eher ungelenk. Der drastische Beethoven siegt über den spielenden. Schöner wäre es, die beiden hätten sich verbündet.
Wenn ein markerschütternder Ton in ein ansonsten stilles Notenfeld kracht oder Brüllen unvermittelt zum Flüstern wird, haben Marc Coppey und Peter

F. F. dabei
F. F. dabei | Nr. 11/2018 26. Mai bis 8. Juni | May 26, 2018

Der Franzose Marc Coppey und sein St. Petersburger Klavierpartner Peter Laul musizieren voller Energie und Temperament. Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Der Franzose Marc Coppey und sein St. Petersburger Klavierpartner Peter Laul musizieren voller Energie und Temperament.

www.ResMusica.com
www.ResMusica.com | Le 15 mai 2018 | Maciej Chiżyński | May 15, 2018 | source: http://www.resmu...

Pour son troisième album chez le label Audite, Marc Coppey s’aventure àMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Pour son troisième album chez le label Audite, Marc Coppey s’aventure à

www.pizzicato.lu | 17/04/2018 | Remy Franck | April 17, 2018 | source: https://www.pizz... Fein differenzierter Beethoven

Nach den so konträren Einspielungen durch Friedrich Kleinhapl und Andreas Woyke sowie Jean-Guihen Queyras und Alexander Melnikov bietet dieseMehr lesen

Nach den so konträren Einspielungen durch Friedrich Kleinhapl und Andreas Woyke sowie Jean-Guihen Queyras und Alexander Melnikov bietet diese Gesamtaufnahme der Cellomusik von Ludwig van Beethoven wiederum ganz andere Interpretationsansätze.

Der französische Pianist Marc Coppey und der russische Pianist Peter Laul haben die acht Werke im Kleinen Saal der St. Petersburger Philharmonie aufgenommen.

Die beiden ersten Sonaten werden noch ungemein leicht und charmant gespielt, als erste Versuche Beethovens in einer Gattung, die er gewissermaßen erfand. Auch die Variationen profitieren von dieser Eleganz und dem damit verbundenen Charme.

Mit seinem warmen und edlen Celloton bleibt Coppey den Werken weder in ihren sensiblen Aussagen noch in ihrer Virtuosität etwas schuldig. Auffallend und durchaus wertvoll ist die Präsenz des Klaviers, das nicht als Begleiter in den Hintergrund gedrängt wird, sondern vollwertig mitgestaltet.

Die Sonate op. 69 und die zwei letzten Sonaten op. 102 verlangen mehr Gestaltungsmittel, und die halten die beiden Interpreten bereit. Sehr wirkungsvoll sind Coppeys feuriges Drauflosgehen ebenso wie sein zarter, oft sehr reflektiver Lyrismus oder sein behagliches Schnurren, kurz gesagt, die Fülle von verschiedenen Ausdrucksmitteln, die Beethoven zugutekommen. Doch auch Peter Laul verdient höchstes Lob. Er ist gestalterisch perfekt eingebunden und spielt so sehr mit Farben und Schattierungen, dass das Dialogieren mit dem Cellisten für den Zuhörer sehr attraktiv wird.

Fresh, bright and unmannered, well differentiated performances of Beethoven’s music for cello and piano. The recording is very well balanced, giving the piano a strong but obviously correct presence.
Nach den so konträren Einspielungen durch Friedrich Kleinhapl und Andreas Woyke sowie Jean-Guihen Queyras und Alexander Melnikov bietet diese

www.qobuz.com | 6. April 2018 | Sandra Zoor | April 6, 2018 | source: https://www.qobu... Marc Coppey & Peter Laul spielen Beethovens Werke für Violoncello und Klavier in der St. Petersburger Philharmonie

Der Franzose Marc Coppey und sein St. Petersburger Klavierpartner Peter Laul musizieren voller Energie und Temperament und verleihen den populären Variationen und gewichtigen Sonaten unbestechlichen, glitzernden Klang. Die technische Perfektion der Musiker ist auch in der Livesituation beeindruckend.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Der Franzose Marc Coppey und sein St. Petersburger Klavierpartner Peter Laul musizieren voller Energie und Temperament und verleihen den populären Variationen und gewichtigen Sonaten unbestechlichen, glitzernden Klang. Die technische Perfektion der Musiker ist auch in der Livesituation beeindruckend.

Radio Coteaux
Radio Coteaux | 01 Avril 2018 | April 1, 2018 | source: http://www.radio... BROADCAST

Sendebeleg siehe PDF!Mehr lesen

Sendebeleg siehe PDF!
Sendebeleg siehe PDF!

Merchant Infos

Ludwig van Beethoven: Complete Works for Cello and Piano
article number: 23.440
EAN barcode: 4022143234407
price group: BCE
release date: 6. April 2018
total time: 144 min.

News

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Jul 8, 2018
Award

4 de Diapason - Ludwig van Beethoven: Complete Works for Cello and Piano
Jul 8, 2018
Review

Diapason
Le dialogue de Manuel Fischer-Dieskau (fils de Dietrich) avec la Canadienne...
Jul 8, 2018
Review

Gramophone
Beethoven’s solo cello music is enjoying a moment in the sun right now, with a...
Sep 7, 2018
Review

A Tempo - Das Lebensmagazin
Alles ist hier anders
Feb 7, 2018
Review

Infodad.com
Beethoven and Brahms: still surprising
Apr 17, 2018
Award

4/5 Noten - Ludwig van Beethoven: Complete Works for Cello and Piano
Jun 19, 2018
Review

Strings Magazine
Cellist Marc Coppey on Beethoven’s Works for Cello & Piano
Jun 6, 2018
Review

opushd.net - opus haute définition e-magazine
Cette nouvelle parution, consacrée aux Œuvres pour violoncelle et piano de...
May 30, 2018
Review

F. F. dabei
Insgesamt acht Werke für Violoncello und Klavier hat Beethoven geschrieben –...
May 15, 2018
Review

Fono Forum
Wenn ein markerschütternder Ton in ein ansonsten stilles Notenfeld kracht oder...
May 15, 2018
Review

www.ResMusica.com
Pour son troisième album chez le label Audite, Marc Coppey s’aventure à...
Apr 17, 2018
Review

www.pizzicato.lu
Fein differenzierter Beethoven
Dec 4, 2018
Review

Radio Coteaux
BROADCAST
Dec 4, 2018
Review

www.qobuz.com
Marc Coppey & Peter Laul spielen Beethovens Werke für Violoncello und Klavier in der St. Petersburger Philharmonie

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