Brahms' cello sonatas often pose a vexing balance problem for performers. First off, Brahms extensively uses the lower range of the cello, particularly in the E minor Sonata. While this register is rich and beautiful, it is not known for its ability to project. Secondly, the piano part in both sonatas is characteristically dense and full. Put these two things together and you get cello sonatas where it's often difficult to actually hear the cello. The solution: use a different piano. In the case of this album by cellist ...
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Brahms' cello sonatas often pose a vexing balance problem for performers. First off, Brahms extensively uses the lower range of the cello, particularly in the E minor Sonata. While this register is rich and beautiful, it is not known for its ability to project. Secondly, the piano part in both sonatas is characteristically dense and full. Put these two things together and you get cello sonatas where it's often difficult to actually hear the cello. The solution: use a different piano. In the case of this album by cellist Clive Greensmith and pianist Boris Berman, a Bechstein piano from the nineteenth century is used. This is an instrument to which Brahms himself would have had access to, and is much more in line with the power that Brahms would have had in mind when composing the two cello sonatas -- certainly not the copious amounts of sound produced by modern concert grands, against which the cello has little chance in its lower register. This combination is almost always pleasing; there are times,...
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