Mendelssohn was incapable of composing without craftsmanship and good taste, and his two cello sonatas are skilful and elegant pieces. In thinking that they remain not much more than that, perhaps one is only noting that he was neither Beethoven nor Brahms, but this music is worth hearing and good performances give pleasure.
However, I am unconvinced by the present ones, even at this super-bargain price. Maria Kliegel is a strong and fluent player but, at least on this evidence, not a subtle one; there is a degree of roughness in outer movements and a lack of songful repose in slow ones. Furthermore, her tone is unbeautiful and not helped by a boxy recording. The balance also leaves something to be desired, with the cello being too forwardly placed. The joyful first movement of the Second Sonata is punchy, even military: one longs for these players to relax into the music and to ease off tonally and tempo-wise. The brilliant finale is better, although here too the music could sing more richly. Kliegel and Merscher give vivid performances of the Variations concertantes and the little Song without words but, again, there is more to the music than we hear here. These works are much more finely played by Lynn Harrell and Bruno Canino, who enjoy excellent recording and who also include a cello transcription of the Song without words, Op. 19 No. 1 for piano.'