Brahms Cello Sonatas
View record and artist detailsRecord and Artist Details
Composer or Director: Johannes Brahms
Label: Red Seal
Magazine Review Date: 8/1987
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: RL71255

Tracks:
Composition | Artist Credit |
---|---|
Sonata for Cello and Piano No. 1 |
Johannes Brahms, Composer
Johannes Brahms, Composer Ofra Harnoy, Cello William Aide, Piano |
Sonata for Cello and Piano No. 2 |
Johannes Brahms, Composer
Johannes Brahms, Composer Ofra Harnoy, Cello William Aide, Piano |
Composer or Director: Johannes Brahms
Label: Red Seal
Magazine Review Date: 8/1987
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: RK71255

Tracks:
Composition | Artist Credit |
---|---|
Sonata for Cello and Piano No. 1 |
Johannes Brahms, Composer
Johannes Brahms, Composer Ofra Harnoy, Cello William Aide, Piano |
Sonata for Cello and Piano No. 2 |
Johannes Brahms, Composer
Johannes Brahms, Composer Ofra Harnoy, Cello William Aide, Piano |
Composer or Director: Johannes Brahms
Label: Red Seal
Magazine Review Date: 8/1987
Media Format: CD or Download
Media Runtime: 0
Mastering:
DDD
Catalogue Number: RD71255

Tracks:
Composition | Artist Credit |
---|---|
Sonata for Cello and Piano No. 1 |
Johannes Brahms, Composer
Johannes Brahms, Composer Ofra Harnoy, Cello William Aide, Piano |
Sonata for Cello and Piano No. 2 |
Johannes Brahms, Composer
Johannes Brahms, Composer Ofra Harnoy, Cello William Aide, Piano |
Author: Joan Chissell
Like her two young rivals, Harnoy prefers to emphasize the poetically introspective rather than the sternly classical Brahms. Despite some prettification (through rubato) of the Allegretto and passing rhythmic instability in the finale, her tempos in the E minor Sonata are more judicious than those of the all-too-leisurely Ma. In the F major Sonata, however, I think she was misguided, in view of her limited strength, to choose so slow a speed for the Adagio. Its plangent opening not only lacks body but also sustained intensity. In several other places in this work I felt she was not yet sufficiently mistress of the broad soaring tune. Her phrasing is a little too shyly short-breathed. In view of such strong competition (not forgetting the older Harrel/Ashkenazy/Decca and Rostropovich/Serkin/DG issues). I think she might have been wiser to wait for a strengthening of her convictions—or ability to project them—before recording these two essentially masculine works. But there's never a moment's doubt as to her sensitive, caring musicianship.'
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