Classical Music | Cello Music

Recorded on 08/31/2004, uploaded on 01/27/2009

Musician's or Publisher's Notes

Sonata in F Major, Opus 99      Johannes Brahms

Allegro vivace; Adagio affettuoso; Allegro passionate; Allegro molto

Brahms wrote his Second Cello Sonata in 1886 with the cellist Robert Hausmann in mind. Hausmann inspired many of the challenging and beautiful cello parts Brahms wrote in his later years. Hausmann must have been an outstanding player because Brahms was moved to write not only demanding passagework for him, but also to explore new techniques for the cello. 

The first of these techniques is found in the tremolo coloration of the first movement, the Allegro vivace in F major.  In the very opening statement, we hear triumphant fanfares in the cello supported by rolling tremolos in the piano.  Brahms gives this tremolo texture to the cello in the closing statement of the exposition and throughout the development.

The second movement provides a shocking contrast to its predecessor, due to the new distant key of F-sharp Major.  The composer uses pizzicato accompaniment in the cello to support a lovely opening statement in the piano, switching the roles five bars later.  This pizzicato technique serves to punctuate the tension of the lengthy chords and increase or decrease the dynamics of the melody line.

The third movement is the turbulent center of the work.  This scherzo/trio movement begins quietly, but its rhythmic sweep and dark key of f minor create an unstoppable and even fearsome aspect.  In contrast, the serenity of the trio offers a glassy calm.        Natasha Farny

Brahms ends his work with an evanescent rondo whose three themes contrast folksong-like simplicity, marching passion, and anguish.  His use of pizzicato in the final statement of the first theme shows another creative response to the cello's color possibilities. 

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Cello Sonata No. 2 in F major      Johannes Brahms

Brahms composed his second sonata for the cello during his stay at Hofstetten in Switzerland during the summer of 1886. It is one of his most important chamber works and was written alongside his Second Violin Sonata, op. 100, and the Piano Trio in C minor, op. 101. Its structure is expansive, embracing a four movement design, and its use of the cello put it in contrast to the E minor sonata.

The first movement is bold in its approach. Set in a sonata form of symphonic ethos, with the impassioned opening theme of the cello accompanied by the tremolandi of the piano, it is not difficult to imagine the accompaniment as an orchestral reduction. However, these tremolandi become an important element in holding the movement together. The development shifts mysteriously into the key of F sharp minor, preparing the way for the later movements, and ends with a quiet augmentation of the main theme in chords on the piano, invoking the image of Debussy.

The following slow movement begins in the key of F sharp major, emphasizing and heightening the tonal shift made in the first movement. The form of the movements is ternary. Max Kalbeck suggested that this movement may have been a reworking of the Adagio movement Brahms suppressed from his E minor Cello Sonata. There is some evidence to suggest this, though it still remains uncertain.

The third movement is another example of Brahms' fiery and rhythmically driven scherzi. It abounds in cross-rhythms and continuous motivic interplay between the cello and piano. The Trio, following suit with the previous movements, begins in F major but makes its way, once again, into the remote key of F sharp major.

The last movement has sometimes been criticized as too lighthearted compared to the profound dialogue of the first three movements. The principal melody, in F major, of this rondo movement is graceful with a carefree air about it. The easygoing mood is interrupted only once by the melancholy second episode in B flat minor. The F-sharp tonality, although in this case spelled as G flat, makes a brief return in the final return of the rondo theme. The movement comes to a close with the rondo theme varied with Scottish snaps and a brief coda.     Joseph DuBose

Courtesy of International Music Foundation.