Building a Collection #75: Beethoven's Cello Sonatas and Variations

With recommended recordings

Building a Collection #75

The Cello Sonatas and Variations

By Ludwig van Beethoven

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“What you are, you are by accident of birth; what I am, I am by myself. There are and will be a thousand princes; there is only one Beethoven.”

– Ludwig van Beethoven

Welcome back to Building a Collection, my series on the greatest 250 classical music works of all-time. We return again to Beethoven, this time at #75 on our list. Beethoven’s Cello Sonatas and Variations (sometimes also called his Sonatas for Cello and Piano and if the Variations are included it might be called The Complete Music for Cello and Piano) contain some of the most beautiful and engaging chamber music ever written, and they are among my favorite pieces Beethoven ever composed. If you are a newcomer to these pieces, you are in for a treat.

Ludwig van Beethoven

We have covered Beethoven in previous posts, and there are many print and online resources available about the life of Beethoven. The books listed below are good resources for biographical information about the composer:

Beethoven: Anguish and Triumph by Jan Swafford (2014)

Beethoven by Maynard Solomon (1979)

Beethoven: The Man Revealed by John Suchet (2013)

Beethoven: A Life by Jan Caeyers (2020)

Below I’ve listed some interesting and important facts to know about Beethoven:

• Beethoven was born in Bonn, Germany in December 1770 and died in March 1827 in Vienna, Austria. Ludwig’s father Johann maintained that Ludwig’s year of birth was 1772 in an effort to portray Ludwig as younger than he was in order to make it appear he was an even greater prodigy. It was not until many years later that Ludwig found out the truth about his age.

• Ludwig’s father Johann was an alcoholic, something that Ludwig would inherit as well later in life. Johann was also known to be physically abusive toward Ludwig, particularly when Ludwig would make mistakes in piano practice or lessons. His father pushed him incessantly.

• Young Ludwig enjoyed daydreaming, and was never a good math student, partly because he had to leave school at a young age to earn money for the family. It is likely Ludwig suffered from what we would now call depression and ADHD, among other disorders.

• Beethoven performed in front of Mozart when he was 17 years of age, and took lessons from Haydn (though the lessons did not go smoothly). Mozart is quoted as saying of Beethoven, “This young man is destined to make a name for himself.”

• Beethoven began to lose his hearing as early as age 25, he had almost constant ringing in his ears by age 27, and was completely deaf by age 46.

• Throughout his lifetime, Beethoven was sickly. He suffered at various times from typhus, jaundice, colitis, hepatitis, rheumatism, cirrhosis of the liver, various infections, skin disorders, and of course deafness. Though nobody knows for sure why he went deaf, it is believed to have stemmed from a childhood illness. His deafness made him more withdrawn, despondent at times, and made his social interactions difficult.

• Beethoven disliked teaching piano, unless the pupil was very talented or was an attractive female.

• Perhaps not surprisingly, Beethoven was a perfectionist when it came to his music. He was known to revise and redraft many of his most famous works.

• Up until Beethoven, the harpsichord was the primary keyboard instrument, but Beethoven began writing for solo piano, which was new at the time. Beethoven’s piano sonatas are among the greatest of his works.

• Beethoven possessed perfect pitch, so despite his deafness he was able to continue composing effectively.

• Beethoven’s composing years are often divided into early, middle, and late periods. During his early period, you can hear Beethoven bowing to classical convention and norms, his middle period is more ambitious and virtuosic as he expanded on existing forms, and his late period could be described as truly groundbreaking, revolutionary, and even spiritual.

• While listeners are most familiar with Beethoven’s Symphony no. 9 “Choral”, the first symphony to include voices, and his Symphony no. 5 with its defiant fate theme, Beethoven’s true breakthrough was his Symphony no. 3 “Eroica” famously dedicated to Napoleon initially. Beethoven admired Napoleon and the ideals of the French Revolution. However, when Beethoven heard news of Napoleon crowning himself Emperor, he flew into a rage and reportedly said Napoleon was, “an ordinary human being” and took the title page, tore it in two, and threw it on the floor. He changed the dedication thereafter, and the symphony was dubbed “eroica” (heroic) in 1806.

• Beethoven died during a thunderstorm, though the cause of his death is the subject of much controversy and debate. His funeral was estimated to have been attended by between 10,000 and 30,000 people.

• Beethoven had many unrequited female loves, but the “immortal beloved” he wrote to in a famous letter from 1812 (and covered in the 1994 movie Immortal Beloved) has never been positively identified.

The Cello Sonatas and Variations

Beethoven wrote his Cello Sonatas 1 & 2, op. 5 in 1796 while he was in Berlin. While there, he met the King of Prussia Friedrich Wilhelm II. The King was a cellist, and thus the sonatas were dedicated to the King. However, while visiting the court Beethoven played the sonatas (Beethoven on piano) with one of the court’s musicians Jean-Louis Duport. Upon hearing Duport’s playing Voltaire said to him, “Sir, you will make me believe in miracles, for I see that you can turn an ox into a nightingale.” With these sonatas, Beethoven essentially invented the form of the “cello sonata”. During that time, the cello had never been used as a solo instrument in the sense of giving it equal billing to the piano.

Both of these first cello sonatas have just two movements, the first movement of the second sonata being one of the longest sonata movements Beethoven ever wrote. The first sonata is written in a major key, while the second one is in a minor key. The first two sonatas fall into the “early” phase of Beethoven’s composing years, and as such are full of more classical influence and hearken back to Haydn and Mozart. They contain some beautiful music, as well as some devilish virtuosic sections especially for the piano.

Cello Sonata no. 3, op. 69 was written quite a bit later, finished in 1808. That was the same year Beethoven completed his Symphonies 5 & 6, so his inspiration was at its height. Sonata no. 3 has a heading at the top that says Inter Lacrimas et Luctum (Amid Tears and Sorrow). It is not entirely clear why Beethoven gave it this title, as the work itself is not overly sorrowful. There is some darker shading and a bit of melancholy, but on the whole the work is lyrical and moves forward assertively. In this sonata, Beethoven began to break free from the more classical structure (indeed he had long since developed his own unique voice) of the first two sonatas and we hear the cello has a more involved and complex part. The second movement Scherzo has a syncopated melody which bounces back and forth from piano to cello back to piano. The third movement Adagio cantabile – Allegro vivace provides quite a workout for both musicians as it moves from lyrical to a happy spinning main theme.

Cello Sonata no. 4, op. 102/1 and Cello Sonata no. 5, op. 102/2 were again written several years later in 1815. The last two sonatas were later dedicated to the Countess Marie von Erdody. These are more intimate works, perhaps reflecting a time period where Beethoven had withdrawn from the public eye for a time likely due to his increasing hearing loss. The sonatas are more harmonically adventurous, and in points move from major to minor keys, and Beethoven uses more counterpoint similar to other sonatas he was writing at the time. These are full fledged sonatas, with main themes recurring and being developed. This is mature, middle to late period Beethoven. Once again, it is striking how wonderfully moving these works are, containing gorgeous and emotionally potent music.

Beethoven also wrote three sets of Variations for cello and piano. Those include his:

• 12 Variations on 'Ein Mädchen oder Weibchen' from Die Zauberflöte by Mozart (1796). Beethoven goes to Mozart for inspiration and finds playfulness and joy, and turns it into his own showpiece.

• 12 Variations on 'See the conqu'ring hero comes' from Judas Maccabaeus by Handel (1796). You will no doubt recognize this melody, and Beethoven puts some marvelous variations together on the theme, which are light but also irresistible.

• 7 Variations on 'Bei Männern, welche Liebe fühlen' from Die Zauberflöte by Mozart (1801). This tune is one of the most memorable and recognizable from that opera.

The Variations contain some delightful music, rich in melody and personality. Beethoven chose some of the most familiar tunes of his day to turn into Variations. Not every recording listed below includes the Variations, but if they are included they are a worthwhile bonus.

When you put the Cello Sonatas and Variations alongside Beethoven’s ten Sonatas for Violin and Piano and the world beating Piano Sonatas, you collectively have music which spans far beyond anything which had been composed previously and which lives as a testament to Beethoven’s greatness.

The Essential Recording

The catalog is full of excellent recordings and performances of the Beethoven Cello Sonatas and Variations, and choosing just one to elevate to essential is almost absurd. But the recording I have chosen by pianist Francois-Frederic Guy and cellist Xavier Phillips brings beautiful and sensitive performances and outstandingly clear and vivid sound. But to be fair, many other recordings of these pieces meet that standard. In order to be essential, the recording must be extra special, and this one meets the standard. There is an improvisatory quality to the playing of Guy and Phillips that is sparkling, spontaneous, and natural. It is a fun and rewarding listening experience.

Francois-Frederic Guy is a French classical pianist, and has become somewhat of a Beethoven and Brahms specialist. He has recorded all the Beethoven piano sonatas and piano concertos, which in my view are very fine. Since 2006, Guy has appeared with many major orchestras and conductors in Europe, and particularly in France. He is a strong advocate for contemporary French composers, and has played the premieres of many works that were dedicated to him. Guy entered the Conservatoire de Paris at age 11, and made his debut with the Orchestre de Paris with Wolfgang Sawallisch in 1999.

Xavier Phillips is a French classical cellist, and began studying the cello at the age of 6. He entered the Conservatoire de Paris in 1986 at the age of 15, and won Conservatoire First Prize in 1989. He trained under legendary Russian cellist Mstislav Rostropovich for 12 years.

When listening to a recording of two instruments such as we have on this recording, the recorded balance between the two instruments is a critical part of the experience. On this recording, the balance is tilted slightly toward the cello rather than the piano. Personally, I like this balance because on other recordings it can be difficult at times to hear the cello and pick up all the notes. The great thing here is you can hear both instruments closely and quite clearly, and for me that is a benefit.

Guy in particular is an astounding artist, and especially in the first two sonatas which contain so much difficult writing for piano, he plays with extraordinary aplomb and effortlessness. The playfulness between the two artists is also palpable. I love how Guy and Phillips emphasize the dramatic contrasts between the more lyrical and expressive moments and the more frantic and frenetic passages. Phillips puts a lot of character into his cello playing, and you can especially hear it in the later sonatas, such as the first movement of no. 3 op. 69 and the first movement Andante in no. 4 op. 102. He is able to achieve a warmth of tone, even in higher notes, and never overpowers the sound of the piano. But as I said, it is so good to hear the cello so clearly. I am also left impressed with the accuracy of the playing throughout, and how both artists are right with each other, and they seem to be seamless in their partnership.

Guy and Phillips are every bit as spectacular in the variations as the sonatas themselves, playing with a sense of sublime fun and energy. On this album, the variations are programmed first before the sonatas.

Recommended Recordings

A few things to know about the list of recommended recordings below. One, it does not include recordings of individual Cello Sonatas which are not part of a set of all five. Two, it does include a few recordings which have all five Cello Sonatas, but not the Variations.

Pierre Fournier with Friedrich Gulda recorded the complete works for cello and piano in 1959 for Deutsche Grammophon. This is a classic recording full of charm and refinement, and for decades it has held a special place for many listeners. Gulda was a piano genius in my opinion, and together with Fournier’s warm and full tone they make a great team. In some ways they were not a good match on paper, as Gulda had a reputation as being a bit of an iconoclast, while Fournier was more traditional. But you cannot argue with the results here, as they create sparks as a team. The sound retains some background hiss, but nothing bothersome. A great set.

The Hungarian team of cellist János Starker and pianist György Sebök began playing together in the 1920s, and this 1959 recording on Erato/Warner was made in Paris where they both emigrated after the Communist crackdown in Hungary. The cohesive nature of the duo is evident on this recording. Starker’s cello is bold, with a woody timbre that I quite like, and Sebök’s piano is a bit forward of the cello but never overpowering. In fact, the balance between the two is near ideal. There is some background hiss and Starker’s cello sounds like it almost has a patina on it, but nevertheless this is a terrific recording. Please note the Variations are not included.

Mstislav Rostropovich and Sviatoslav Richter came together for a classic account of these works, recorded for Philips/Universal in 1963. For a long time, this recording was THE one to have and still remains in the top spot for many. Rostropovich and Richter were both superstars, and their chemistry together is undeniable. The sound is warm, and the playing is beautiful. For me, it is a bit old fashioned when compared to the Guy/Phillips recording. But it should be in the collection of every Beethoven aficionado. It should be noted this is just the sonatas, with the variations not being included.

The 1965 Vanguard recording with the Italian cellist/conductor Antonio Janigro and the vastly underrated Austrian pianist Jörg Demus is another gem of a set, again with just the sonatas included. The sound is a bit inferior, even for 1965, but certainly acceptable, and it reveals two musicians in fine balance, both using subtle dynamic changes according to the score, but also reveling in the music’s melodic outpouring. I must admit this one was not on my radar, but it made a deep impression on me, and I will be returning to it again. Indeed, I want to search for more recordings from Janigro and Demus.

The 1994 set of the complete music for cello and piano by Martha Argerich and Mischa Maisky on Deutsche Grammophon remains one of my favorite sets. Both of these musicians are known for their extroverted style, and that has the potential to be problematic. But as it turns out, Maisky backs off and allows Argerich to drive the ship. That is not to say Maisky is in the background, he plays beautifully. But Argerich is more prominent in both the sound picture as well as the interpretation. The emotional pulse of each movement takes priority, and while you might think subtlety would suffer, both musicians are keen to bring a softer touch and more lyricism when needed. Not all listeners will like Argerich’s leading role in comparison with the cello, but on the merits this is a great set.

Yet another Hungarian duo, Andras Schiff and Miklós Perényi recorded the complete music for cello and piano in 2004 for the ECM label. This is a superb complete set with Schiff and Perenyi displaying the highest level of technical skill and artistic nuance. The duo’s understanding of Beethoven’s emotional idiom to be spot on, and part of this is their sensitivity to dynamics and effective phrasing. Perényi’s cello once again sounds warm and inviting, but has a shade more urgency than on the Hungaroton set (in honorable mention below). Schiff brings his customary intelligence and clarity. The sound is exemplary. Highly recommended.

David Geringas, the Lithuanian cellist that studied under Rostropovich, and pianist Ian Fountain joined together to record the complete works for cello and piano for the haenssler/SWR label in 2011, and the results are never less than stimulating. The energy and joy exhibited by both musicians is infectious, and their clarity of articulation and boldness stand out as well. The balance between the instruments is ideal, and while the duo play the more rhythmic sections especially well, the entire album is thoroughly enjoyable. The sound is clear and immediate.

Steven Isserlis and Robert Levin recorded the complete works for cello and piano in 2013 for the Hyperion label. It is also one of the most wonderful versions, and now that Hyperion recordings are available on streaming services, it is easier to access. Levin uses a fortepiano, and Isserlis uses less vibrato with an attempt to recreate the sound from Beethoven’s time. It is different sounding, but brings great rewards. Levin’s fortepiano playing is about as characterful and sparkling as you could wish for, and he is with Isserlis at every turn. The sense of camaraderie and teamwork is palpable, and the duo bring a keen sense of dynamic intensity and emotional variation to each sonata as well as the Variations. This is music making on an elevated level.

The 2014 recording with French cellist Jean-Guihen Queyras and Russian pianist Alexander Melnikov on the Harmonia Mundi label is one of the most satisfying sets available of the complete works for cello and piano. The works on the album are presented in the chronological order in which they were written, which is a nice touch. Queyras and Melnikov are like a well-oiled machine together, with an innate sense of partnership where each allows the other to emerge and shine at the appropriate times. There is also a sense of spontaneity and joy in their music making, at times relaxed and free, at other times intensely dramatic based on the score. Their playing is beautiful, with Queyras bringing forth a wonderful tone and with Melnikov not just merely following but putting his own stamp on the piano part. The duo can produce some quite big sound, but what is perhaps even more impressive is their ability to create mystery and introspection in the quieter and more subtle moments. The sound is excellent from HM.

Recorded live in one long session at the St. Petersburg Philharmonia in 2018 for Audite, cellist Marc Coppey and pianist Peter Laul are captured marvelously in the complete works for cello and piano. These are performances caught on the wing, the spontaneity and sparkle are there in spades. Laul’s piano is sparkling, and Coppey’s is unfailingly energetic, and the duo’s tempos are among the quickest on the list. Rhythms are alive and well sprung, and you can feel the joy in these works throughout. The fact that these are live recordings lend a certain extroverted ambience to the proceedings which I quite like, but some may find overbearing. So in summary this is a tour de force, but if you want more nuance or inwardness, look elsewhere. A small warning, the louder passages here are extremely loud, so be aware of volume.

One of the most exciting recent recordings of the complete works for cello and piano is by cellist Nicolas Alstaedt and pianist Alexander Lonquich, recorded in 2020 by the Alpha label. Lonquich uses a fortepiano and Alstaedt uses different types of strings for different ranges on his cello. The result sonically is that the duo create a storm of sound (in the best sense), with a wide range of timbres and dynamics. The pair keep the momentum moving forward, but the additional pace never detracts from the clarity and warmth. Similar to Queyras and Melnikov, these performances sound spontaneous and vibrant. Their bold and raw energy translate into a set which consistently astounds and impresses. Alstaedt and Lonquich stand with Isserlis and Levin in using period instruments played with color and personality. The sound is superb.

Yo-Yo Ma and Emmanuel Ax recorded the Cello Sonatas previously, but their 2021 recording on Sony (with sonatas only) is generally better on all counts. Both Ma and Ax have an expressive way with their phrasing which fits the mood, and the approach is essentially lyrical. At times I miss the more overt emotional gestures heard with Isserlis/Levin and Maisky/Argerich, but the years since Ma/Ax first recorded the set in 1987 have brought readings of more poignancy and understanding. The duo have always had a wonderful compatibility with each other, and the way they anticipate each other on this album is a delight. The sound is not top shelf from Sony, and at times the piano seems a bit distant.

The 2023 recording featuring cellist Gary Hoffman and pianist David Selig on the La Dolce Vita label is as enjoyable of a recording of the complete works for cello and piano as you are likely to find. Character and personality abound, with Hoffman’s extrovert style blending well with Selig’s similarly bold approach. Both musicians play in a spirited fashion, but also show a great amount of virtuosity and sensitivity. They are not afraid to reveal the emotional depths, for example in the opening movement of no. 2 in G minor, and in the more rhythmic movements they have an innate sense of Beethoven’s contrapuntal writing. The sound is excellent.

Honorable Mention

Some of the sets below just barely missed the mark for me, but as always this is more art than science. In truth there are some excellent recordings below as well, and you should find the ones you like best.

Pablo Casals and Rudolf Serkin’s set from 1952-53 for Columbia (Sony) was originally on my recommended list, and it remains one of my favorite sets. But Casals’ noticeable grunting throughout is problematic. It is a wonderfully tender and joyful recording, though with some moderate sound limitations.

Fournier / Schnabel (Andromeda 1948)

Fournier / Kempff (DG 1965)

Du Pre / Barenboim (Warner 1970)

Ax / Ma (Sony 1987)

Wispelwey / Lazic (Channel 2005)

Meneses / Pressler (Avie 2008)

Bailey / Dinnerstein (Telarc 2009)

Schiefen / Perl (Oehms 2009)

Qin / Tiu (Decca 2010)

Rosler / Wurtz (Brilliant 2013)

Haimovitz / O’Riley (Pentatone 2015)

Capuçon / Braley (Warner 2016)

Kirschbaum / Wosner (Onyx 2016)

Linden / Breitman (Nimbus 2018)

Elschenbroich / Grynyuk (Onyx 2019)

Weilerstein / Barnatan (Pentatone 2022)

Kloetzel / Koenig (Avie 2022)

Join me next time when we will cover Johannes Brahms’ lovely Clarinet Quintet in B minor. See you then!

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Notes:

Arnold, Denis and Nigel Fortune, ed. The Beethoven Companion, ISBN 0-571-10318-9, p. 213.

Brennan, Gerald. Palmer, John. Reel, James. Schrott, Allen. Woodstra, Chris. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Pp. 100-101, 115. Backbeat Books, San Francisco. 2005.

Cuyler, Louise (1880). "Beethoven's works for cello and piano". 1969–1970 Programs. Ann Arbor: School of Music, University of Michigan. n.p. Retrieved 25 June 2023. ... in 1815, Beethoven ... was totally deaf.

Kim, Jungsun (2004). Voice and genre in Beethoven's 'Deux Grandes Sonates pour le Clavecin ou Piano-Forte avec un Violoncelle obligé' (Thesis). ProQuest 305166759.

Lockwood, Lewis (Summer 1986). "Beethoven's Early Works for Violoncello and Pianoforte: Innovation in Context". The Beethoven Newsletter. 1 (2): 17–21. ProQuest 230190920.

Thayer, A. W. (1960). The Life of Ludwig Van Beethoven. Centaur classics. Vol. 2. Southern Illinois University Press. p. 389. Retrieved 10 October 2020. ... Two Sonatas for Pianoforte and Violoncello, Op . 102, published, apparently in January, 1817, by Simrock in Bonn.

https://classicalmjourney.blogspot.com/2017/12/ludwig-van-beethoven-cello-sonatas.html

https://www.classicfm.com/composers/beethoven/best-quotes-about-music/

https://evidenceclassics.com/artists/francois-frederic-guy/

https://interlude.hk/a-cellists-dream-the-beethoven-cello-sonatas/