Uploaded November 2015 | Updated September 2026, 2 weeks ago
- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 -- 28 March 1943)
- Performers: Natalia Gutman (cello), Elisso Virsaladze (piano)
- Year of recording: 2006
Cello Sonata in G minor Op. 19, written in 1901.
00:00 - I. Lento -- Allegro moderato (G minor)
12:50 - II. Allegro scherzando (C minor)
19:03 - III. Andante (E flat major)
25:19 - IV. Allegro mosso (G major)
Rachmaninov disliked calling this work a cello sonata because he thought the two instruments were equal. Because of this, it is often referred to as Sonata in G minor for Cello and Piano. Most of the themes are introduced by the piano, while they are embellished and expanded in the cello's part. The piece has a remarkable similarity with regard to thematic material and figurations, to his 1st Piano Sonata.
Rachmaninov dedicated it to Anatoliy Brandukov, who gave the first performance in Moscow with the composer at the piano, on 2 December 1901. Rachmaninov seems to have made some last-minute alterations after the premiere, as he wrote the date "12 December 1901" on the score.
The sonata was overshadowed by the huge success of his Piano Concerto No. 2, which premiered on 27 October 1901. Nonetheless, the Sonata is considered one of the most important works for cello in the 20th century. In this sonata he clearly explores the possibilities of the cello. The complex piano part is remarkable, because it has by no means the character of a simple piano accompaniment. Still, the contribution of the cello and the piano are actually expertly balanced and generally well alternated, though sometimes the emphasis seems to lie at the piano, especially if the pianist plays too loud. Perhaps this is the cause of the sonata being somewhat underperformed, cellists may fear to be 'overwhelmed' by the piano part.
- Composer: Sergei Vasilievich Rachmaninoff (1 April 1873 -- 28 March 1943)
- Performers: Natalia Gutman (cello), Elisso Virsaladze (piano)
- Year of recording: 2006
Cello Sonata in G minor Op. 19, written in 1901.
00:00 - I. Lento -- Allegro moderato (G minor)
12:50 - II. Allegro scherzando (C minor)
19:03 - III. Andante (E flat major)
25:19 - IV. Allegro mosso (G major)
Rachmaninov disliked calling this work a cello sonata because he thought the two instruments were equal. Because of this, it is often referred to as Sonata in G minor for Cello and Piano. Most of the themes are introduced by the piano, while they are embellished and expanded in the cello's part. The piece has a remarkable similarity with regard to thematic material and figurations, to his 1st Piano Sonata.
Rachmaninov dedicated it to Anatoliy Brandukov, who gave the first performance in Moscow with the composer at the piano, on 2 December 1901. Rachmaninov seems to have made some last-minute alterations after the premiere, as he wrote the date "12 December 1901" on the score.
The sonata was overshadowed by the huge success of his Piano Concerto No. 2, which premiered on 27 October 1901. Nonetheless, the Sonata is considered one of the most important works for cello in the 20th century. In this sonata he clearly explores the possibilities of the cello. The complex piano part is remarkable, because it has by no means the character of a simple piano accompaniment. Still, the contribution of the cello and the piano are actually expertly balanced and generally well alternated, though sometimes the emphasis seems to lie at the piano, especially if the pianist plays too loud. Perhaps this is the cause of the sonata being somewhat underperformed, cellists may fear to be 'overwhelmed' by the piano part.




![Ralph Vaughan Williams - A Sea Symphony
- Composer: Ralph Vaughan Williams (12 October 1872 26 August 1958)
- Orchestra: London Philharmonic Orchestra
- Choirs: London Philharmonic Choir, Cantilena
- Conductor: Bernard Haitink
- Soloists: Felicity Lott (soprano), Jonathan Summers (baritone)
- Year of recording: 1989
Symphony No. 1 for soprano, baritone, chorus & orchestra (A Sea Symphony), written in 1903-1909.
00:00 - 1: A Song for All Seas, All Ships (baritone, soprano, and chorus)
20:58 - 2: on the Beach at Night, Alone (baritone and chorus)
33:02 - 3: Scherzo: The Waves (chorus)
40:00 - 4: The Explorers (baritone, soprano, semi-chorus, and chorus)
The poetry of Walt Whitman was a rallying point for Vaughan Williams and his fellow students at Cambridge in the 1890s; for the composer, Whitman remained a lifelong source of inspiration. His largest Whitman setting is A Sea Symphony, which Vaughan Williams began writing in 1903, when he was 31 years old, and which he completed, only after much revision in 1909. Whitmans decidedly non-ecclesiastical vision of the souls journey through life as a sea voyage into uncharted regions certainly appealed to Vaughan Williams, a declared agnostic who once exclaimed Who believes in God nowadays, I should like to know? according to fellow Trinity scholar Betrand Russell.
Drawing inspiration from the cantatas of Parry and the operettas of Sullivan, as well as the English folk songs he had recently begun to collect, Vaughan Williams fashioned a huge score that contains some of the finest choral writing of its era.
- In the first movement, A Song for All Seas, All Ships, a stern brass flourish is answered by full chorus, Behold the sea itself. Thematic motives that will inform the rest of the work are immediately sounded: the words and on its limitless, heaving breast, the ships are set to a noble, arching theme that appeared more than once in Vaughan Williams music, from the early unpublished tone-poem The Solent to the Symphony No. 9 of 1958. A quicker, shanty-like section ensues, making use of the folk song Tarry Trowsers, in which the baritone soloist sings a rude, brief recitative of ships sailing the seas. The dramatic entry of the soprano is heralded by the opening brass flourish; her cavatina extends the imagery into the spiritual: ...for the soul of man one flag above all the rest...emblem of man elate above death [.]
- The second movement is a nocturne, On the Beach at Night, Alone, for baritone and chorus, in which to a dark rocking accompaniment the soloist muses on the clef of the universes and, over a soft march-like tread in the bass (the legacy of Parry), envisions how A vast similitude interlocks all. The chorus unleashes a forthright and powerful declamation after which the initial mystery of the opening returns, this time with orchestra alone.
- A sprightly version of the opening fanfare, with pizzicato strings, launches the scherzo The Waves for chorus alone. The quick and lightly scored counterpoint in the orchestral accompaniment underscores the interplay of whistling winds...undulating waves...that whirling current through which a ship plies its way. The trio is a broad, Parryesque melody to the words Where the great vessel sailing and tacking displaced the surface. The movement concludes with alternating fanfares for both brass and chorus.
- The Explorers is fully half an hour in length, a finale containing some of Vaughan Williams most noble music. Here the metaphor of the soul as a ship voyaging through the seas of life is most forthrightly expressed. A quiet introduction for hushed chorus (O vast Rondure, swimming in space) is followed by a slow march describing the restless soul of man from its origins in Adam and Eve, climaxing in a vision of the poet, the true son of God who will guide mankind through his songs. The soprano and baritone soloists sing of the Soul taking ship to launch out on trackless seas in a duet of operatic, almost Wagnerian, fervor. A faster section (Away O Soul!) launches the Souls journey, with a final note of benediction (O daring joy, but safe! are they not all the seas of God?) before the symphony sinks from sight in the lowest strings. Ralph Vaughan Williams - A Sea Symphony](https://i.ytimg.com/vi/_WsW5UPNIxM/mqdefault.jpg)


![Xaver Scharwenka - Piano Concerto No. 1 in B flat minor, Op. 32
- Composer: Franz Xaver Scharwenka (6 January 1850 8 December 1924)
- Orchestra: Estonian National Symphony Orchestra
- Conductor: Neeme Järvi
- Soloist: Alexander Markovich
- Year of recording: 2013
Piano Concerto No. 1 in B flat minor, Op. 32, written in 1876.
00:00 - I. Allegro Patetico
10:44 - II. Allegro assai
17:53 - III. Allegro non tanto
Scharwenkas 1st Piano Concerto in B flat minor (1876) brought Scharwenka great renown. It is dedicated to Liszt, for whom Scharwenka performed it privately. The gestation of the work was not simple. It began life as a two-movement Fantasy for solo piano and Scharwenka worked on it for several years from the early 1870s before it reached its final shape. In three movements, the result is a seemingly conventional structure, yet the content reflects its origins as a solo fantasia. It is famously the only (or perhaps one of the few) concertos that features 3 allegro movements consecutively.
Scharwenka often performed this concerto to great success in programs that also included Beethovens Emperor concerto. Hans von Bülow called it original, amiable throughout, perfect in form... [with] admirable intrumentation. Such illustrious pianists as Constantin von Sternberg, Emil von Sauer, Moriz Rosenthal, and Eugen dAlbert had this concerto in their repertory. But it was missing for many decades, until Earl Wild revived the concerto in 1968, and made the first recording of it.
- The stirring opening tutti is cut short by the piano, which wrests the spotlight from the orchestra, and so it remains. What then emerges, rather than a contest, is a constantly evolving elaboration not only on the initial theme but also on more lyrical and introverted ideas, interspersed with moments of bravura. This became a feature of later concertos too. Of particular note is the wistful tone of the Adagio section, introduced by strings, the melody given to the violas.
- As much of the first movement is in reflective mood, it is not surprising that Scharwenka replaces the traditional slow movement with a Scherzo. Its main theme cross-fertilises the triple metre with duple phrasing and the second theme has a simple but beguiling tripping rhythm. The movement shows the strong influence of the style brillant, recalling composers such as Hummel and Chopin, while elsewhere in the concerto parallels may be drawn with Liszt and Grieg.
- It is in the finale that the elements of the fantasia are most pronounced: a mysterious, expectant orchestral opening, a solo peroration ending with a brief allusion to the viola theme from the first movement, echoed by the clarinet. Only then is the movement fully launched, yet it becomes entranced by the recalled theme. Liszt’s cyclic principles are tempered by Scharwenka’s quasi-improvisational approach, which at last gives the soloist a designated Cadenza, marked Maestoso, which also reintroduces the work’s opening theme. A compelling coda ensues.
The piano concerto is dedicated: Franz Liszt, verehrungsvoll zugeeignet. Xaver Scharwenka - Piano Concerto No. 1 in B flat minor, Op. 32](https://i.ytimg.com/vi/a4Jou7pgSzM/mqdefault.jpg)

![Jean-Philippe Rameau - Suite in G major/minor (Nouvelles Suites de Pièces de Clavecin 1727)
- Composer: Jean-Philippe Rameau (25 September 1683 12 September 1764)
- Performer: Grigori Sokolov (piano)
- Year of recording: 1997 (Live in Bergen, Norway)
Suite in G major/minor, from Nouvelles Suites de Pièces de Clavecin, for harpsichord, written in 1727.
00:00 - Les Tricotets (Rondeau)
01:46 - LIndifférente
04:25 - Menuet
06:05 - Menuet II
08:11 - La Poule
12:27 - Les Triolets
17:00 - Les Sauvages
19:06 - LEnharmonique (Gracieusement)
25:33 - LÉgyptienne
The Nouvelles suites de pièces de clavecin includes 15 pieces. The first seven pieces of the anthology are grouped around A major and A minor [not in this recording], while the remainder are centered on G major and G minor. Like all French keyboard works, they are notable for such characteristic devices as the broken chord (stile brisé) taken over by French keyboard composers from the influential school of early seventeenth century lutenists. Also highly characteristic are the lavishly decorated melodic lines, based on a code of ornamentation illustrated in didactic prefaces by composers such as dAnglebert and Couperin. As in all three of Rameaus collections, the pieces are divided between the binary (two-part) dance movements of the Baroque suite and the character pieces unique to French instrumental music.
The present collection is headed by three dance movements: an Allemande, a Courante, and a Sarabande (worthy of special mention as one of Rameaus noblest conceptions), and also includes a Gavotte et doubles (variations) and a pair of Minuets. The descriptive character or genre pieces sometimes have intriguing titles, the original meaning of which cannot always be determined. The Nouvelles suites includes ten such pieces, among them one of the composers most famous keyboard works, LEnharmonique. It takes it name from the striking enharmonic modulation just after the start of the second half, reminding listeners that the composer was also an outstanding theorist whose Traite dharmonie (Treatise on Harmony) was one of the most influential pedagogical publications of the eighteenth century. Another popular piece here is La Poule, which graphically imitates the clucking of a hen in the most ingenious fashion. The contemporary vogue for the exotic is not ignored, either, as the inclusion of pieces entitled Les Sauvages and LÉgyptienne clearly illustrates. A number of Rameaus keyboard works were later orchestrated and reused in his operas, an example being the Sarabande, which later found its way into the third act of Zaroastre from 1749.
These pieces were originally written for the clavecimble, in this recording they are played on the grand piano by G. Sokolov; his clavecimble-like playing of these pieces on the piano shows that it can make perfect sense to play harpsichord pieces like this on the piano if theyre handled as well as they are here by Sokolov. Jean-Philippe Rameau - Suite in G major/minor (Nouvelles Suites de Pièces de Clavecin 1727)](https://i.ytimg.com/vi/aT15H458uoo/mqdefault.jpg)
![Willem Pijper - Six Adagios
- Composer: Willem (Frederik Willem Johannes) Pijper (8 September 1894 18 March 1947)
- Orchestra: The Residentie Orchestra
- Conductor: Eduard Flipse
- Year of recording: 1953
Six Adagios {Zes Adagios} for Orchestra, written in 1940.
00:00 - I. Grave
02:09 - II. Adagio (lento assai)
03:42 - III. Adagio (quasi un poco meno lento)
04:59 - IV. Adagio, un poco più andante
06:13 - V. Largo
07:39 - VI. Grave
Dutch composer Willem Pijper composed the Six Adagios for Orchestra for the student initiation of the Order of Freemasons, of which he was a member. Each adagio was designed as temple music for a given phase of the initiation ritual.
Given the purpose of the work, he did not utilise his usual polytonalic and polyrhythmic techniques, but returned very consciously back to the familiar tonality principle: the Adagios are in the key of C Major and C minor. Therefore, the music comes to the listener as an understandable, familiar language, richly melodic and with a gentle harmony partly due to the instrumental timbres. This piece, along with the Sex Epigrams [uploaded on this channel] show of Pijpers excellent orchestral writing skills.
The piece is recorded under the label Order of Freemasons under the Grand Orient of the Netherlands. Willem Pijper - Six Adagios](https://i.ytimg.com/vi/akCuYMGT6kI/mqdefault.jpg)