We’re delighted to announce the release of a debut recording of the Brahms Cello Sonatas by cellist Kate Bennett Wadsworth and pianist Yi-heng Yang, using an original 1870 Streicher piano and based on the latest historical performance research into Brahms’ own playing style.
Kate notes, ‘what excites me about studying Brahms-era performing practice is that some of his most trusted colleagues lived long enough to make recordings, so it is possible to piece together written descriptions with actual sounds. Yi-heng and I were especially inspired by the recordings of Brahms’ younger female colleagues, many of whom scaled back their public performing careers after marriage and thus were able to preserve a style of playing untouched by the revolutions of the 20th century.’
To learn more about Kate and Yi-heng’s approach, visit The Brahms Lab on Facebook – or have a look at the new Bärenreiter edition of the Brahms Cello Sonatas, which Kate co-edited with Clive Brown and Neal Peres da Costa.
We’re thrilled to announce the release of Vol. 7 of Martin Roscoe’s cycle of Beethoven Piano Sonatas
The main part of this volume is devoted to the Op 31 Sonatas composed in 1802 at a time when Beethoven was probably in the darkest place of his whole life, early in his thirties with the realisation of his impending deafness. In October the same year, Beethoven wrote his famous Heiligenstadt Testament, a will in which he left everything to his two brothers and an outpouring of the despair he felt at the realisation that his deafness was only going to get worse.
Martin notes, “It’s astonishing that..Beethoven was able to be so prolific as he was at this time, and even more amazing that so many of his works are so full of spirit, energy and humour.” This volume also includes the D major No. 3, composed by Beethoven when was twelve – one of the most sophisticated and technically challenging of the three early WoO47.
‘Elegie’ takes the listener on a journey through Rachmaninoff’s life from his early years in Russia, studying in Moscow and composing from his beloved country estate Ivanoka, before escaping the Revolution in 1918 to live in self-imposed political exile in Europe and America. He was never to return but left his heart forever in Russia…