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ricardienne) wrote2008-02-22 09:30 pm
ricardienne) wrote2008-02-22 09:30 pm
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The music I had requested interlibrary-loan came today: Graziani and Liebmann. I hadn't heard of either, but had just picked them out because they were classical-ish cello sonatas.
Both were surprisingly good -- this actually makes me nervous, because I liked the Benedetto Marcello sonatas that I got my dad to scan and e-mail me, too, whereas I didn't really like any of the Baroque/classical stuff that D. gave me look at. (Maybe I have extremely different taste in early music than she does, and this would be awkward.) The Graziani was a giant scholarly thing with a selection of continuo sonatas and such written either for Graziani himself and/or Fredrick II. But they also included a Capriccio for solo cello -- SOLO CELLO! I hadn't thought that there was anything for solo cello between Bach and the 20th century. This one is barely this side of an étude, but it is on this side, I think. On the other hand, it isn't terribly exciting, and it's a little student-y. Maybe I'll learn it for an encore (I'm definitely going to photocopy it and put it in my box.) The other really nifty one was a scordatura sonata: also something I didn't know outside of Bach and the 20th century. It's for a D A D A tuning -- one of the hypothetical tunings of the vielle, by the way, although I doubt Graziani was thinking about that. Of course, I really want to play that one, too, but I think my cello is dealing with enough weird tuning right now.
The other sonata, though, I think I may try to push through for my second recital. It's by Helene Liebmann, a fantastically obscure German piano virtuoso and composer. This sonata has two things going for it already: it's a classical sonata, in a sort of Mozart-y style, and since Mozart never got around to writing a cello sonata, we have to take whatever we can get, and it's by a woman, which is always cool and doesn't happen nearly enough. And thirdly, it's a good piece. I read through the first two movements this afternoon, and there are pretty themes, interesting modulations, and very equal cello and piano writing. The third movement, not so much -- it's variations, a few of which are for piano alone, but it still looks good. So yay! I found and ordered a CD that has it this evening.
On the other hand, I was practicing Bach this afternoon, and sounding awful in a major way. So there is always a downside.
Both were surprisingly good -- this actually makes me nervous, because I liked the Benedetto Marcello sonatas that I got my dad to scan and e-mail me, too, whereas I didn't really like any of the Baroque/classical stuff that D. gave me look at. (Maybe I have extremely different taste in early music than she does, and this would be awkward.) The Graziani was a giant scholarly thing with a selection of continuo sonatas and such written either for Graziani himself and/or Fredrick II. But they also included a Capriccio for solo cello -- SOLO CELLO! I hadn't thought that there was anything for solo cello between Bach and the 20th century. This one is barely this side of an étude, but it is on this side, I think. On the other hand, it isn't terribly exciting, and it's a little student-y. Maybe I'll learn it for an encore (I'm definitely going to photocopy it and put it in my box.) The other really nifty one was a scordatura sonata: also something I didn't know outside of Bach and the 20th century. It's for a D A D A tuning -- one of the hypothetical tunings of the vielle, by the way, although I doubt Graziani was thinking about that. Of course, I really want to play that one, too, but I think my cello is dealing with enough weird tuning right now.
The other sonata, though, I think I may try to push through for my second recital. It's by Helene Liebmann, a fantastically obscure German piano virtuoso and composer. This sonata has two things going for it already: it's a classical sonata, in a sort of Mozart-y style, and since Mozart never got around to writing a cello sonata, we have to take whatever we can get, and it's by a woman, which is always cool and doesn't happen nearly enough. And thirdly, it's a good piece. I read through the first two movements this afternoon, and there are pretty themes, interesting modulations, and very equal cello and piano writing. The third movement, not so much -- it's variations, a few of which are for piano alone, but it still looks good. So yay! I found and ordered a CD that has it this evening.
On the other hand, I was practicing Bach this afternoon, and sounding awful in a major way. So there is always a downside.