Instrumental works constitute a significant portion of Ludwig van Beethoven's creative legacy. The composer expressed almost all of his ideas in sonata genres which were formed by the classicists of the 18th century who were Beethoven's immediate predecessors. These genres achieved an unprecedented flourishing in Beethoven's music signifying the peak of classicist instrumental creations.
The rigorous and rational classic sonata became a form which was particularly dear to Beethoven. That was the area where his creative experimentation found expansion. Beethoven thought in a sonata manner, and he even most often improvised within this form. Typical attributes of sonata such as contrasting themes in a dramatic contraposition, modal and tonal conflicts, dynamic elaboration, purposefulness and integrity of development on a large scale opened ample opportunities for expression of Beethoven's favourite images of motion and struggle.
Beethoven composed five cello sonatas within 1795 to 1815. They represented the composer's style in a brighter and more versatile way than in his other ensembles.
The first two sonatas in F major and G minor, Op. 5, were written in 1796 while he was in Berlin for concerts for Jean-Louis Duport, a French court cellist for the King of Prussia Friedrich Wilhelm II, and dedicated to the king. Beethoven would often dedicate his compositions to the nobles, and they highly appreciated his creations. Both sonatas were written in a two-movement format, which was untypical for the genre.
1802 was the beginning of a hard period for the composer – he started to feel signs of deafness. However, it was the time of his creative ascent. With themes of heroics and struggle stepping to the forefront, it was the time when he composed some of his most important works such as the Eroica, Fifth, Pastoral, Seventh and Eighth Symphonies, the opera Fidelio, Coriolan Overture, Appassionata and L'Aurora piano sonatas and many others. Vividness and power of sound were also characteristic for the chamber instrumental pieces, which make them close to orchestral music.
Sonata No. 3 in A major, Op. 60, (1807–1808) was dedicated to Baron Ignaz von Gleichenstein and written in a classic three-movement format. The sonata opens with a theme of cello solo that sounds like a sort of a question. Gradually, it grows dynamically, and the theme of loneliness and melancholy transforms into expression.
The second movement – Scherzo (Allegro molto) – is original by both form and nature. Its fanciful accentual rhythmic adds a light dance motion. The sonata ends in a brilliant and impetuous finale.
The last two cello sonatas – in C major and D major, Op. 102 (1815) – dedicated to the Countess Anna Maria von Erdődy are of special interest. They reveal a deep psychological insight and polyphonic forms, which is evidence of the links with J.S. Bach's music.
Beethoven titled his Sonata No. 4 in C major in the manuscript Free Fantasy. It begins with an improvisational intro followed by sonata allegro. In terms of figurativeness, this sonata peculiarly combines stern histrionics with tender dreamy lyricism.
Sonata No. 5 in D major outlines the logic of Beethoven's latter sonata cycles. A major initial movement, which is spiritually close to Beethoven's heroic Allegros of the middle period, is followed by a mournful minor Adagio, which transforms into a major fugue in the finale, thus asserting an active and bright principle.
“Daniil Shafran is one of the highest level cellists by his performing manner, by his musical inclinations, and by the wealth and diversity of musical shades,” the Italian conductor Carlo Zecchi said.
Daniil Shafran (1923–1997) was one of the world's best known concert cellists for many years. Many musicians consider him one of the most interesting phenomena of not only cello performing art but also the entire music culture of the 20th century.
As many researchers note, Shafran's performance combined intellect and poetic inspiration, an impeccable taste and technique, in-depth interpretation of the author's idea and originality in revealing the contents of works.
Anton Ginsburg (1930–2002) was an outstanding pianist, pupil of Heinrich Neuhaus and winner of the Prague Spring International Competition. He was best known as an ensemble musician performing with the likes of Daniil Shafran, Mikhael Khomitzer and Igor Oistrakh. Many critics noted the pianist's creative initiatives, temperament and keen musicality.
