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SONATAS on MusicWeb International

This disc was an unexpected pleasure to review. Jamie Walton and Daniel Grimwood are to be commended for pairing the ubiquitous Brahms E minor with the lesser known Strauss, while at the same time rescuing the Thuille from musical oblivion. Walton and Grimwood are both concert soloists in their own right but they have forged an acclaimed musical partnership and have a number of recordings for cello and piano behind them. Throughout this recording, the attention to musical balance and dynamic detail was excellent, and it was clear that the pair had a shared musical understanding of the three works. The Strauss sonata is a very early work written around the same time as the violin sonata. It opens to fanfare F major chords. The ensuing Allegro is quirky and playful and some of the material reminded me of the early Strauss Burlesque for piano and orchestra. I particularly enjoyed Grimwood’s light and playful characterisation of the thematic material. There was much playful dialogue between the two soloists and close attention to musical balance. Strauss appears to be indebted to Mendelssohn in both the second and third movements of the sonata. The second is a Mendelssohn Song Without Words and Walton’s cantabile playing was beautifully judged throughout and brought out the sweetly lyrical elements. The last movement shows Strauss at this most playful and impish and it foreshadows the tone poem Till Eulenspiegel and Zerbinetta in Strauss’s opera Ariadne auf Naxos. Grimwood’s lightness of touch and delicate phrasing were delightful while Walton deftly handled the skittish and difficult passage-work. There have been many recordings of the Brahms E minor sonata. Messrs Hough and Isserlis are one of the best of the most recent recordings. Walton and Grimwood hold their own in this distinguished company. Both soloists captured the melancholic poetry of the first movement and I was struck by the lightness of texture throughout. They brought out the classical elements of the minuet and again they managed to keep the textures light and fluid in the complex trio section. I was not convinced that the voicing and balance were quite right at the beginning of the final fugue but the coda was exciting and exhilarating. In his excellent programme notes, Grimwood makes the claim that: “Of the three works on this disc, this [the Thuille] sonata is the most ambitious and perhaps in some respects the most successful”. While I’m not sure I agree with this assertion, it is clear that this work has been unjustly neglected and deserves to be heard much more widely. I found the first movement of the Thuille sonata to be the weakest of the three. It is well developed and harmonically daring, with chromatic echoes of Wagner and Franck, but I found the thematic material slightly bland and uninspiring. Having said that Walton and Grimwood give a very good account of the work and there is some excellent dramatic dialogue between the two soloists. The second movement of the Thuille completely won me over: it is a rapturous love song in the lavish romantic manner. Walton deploys a ravishing tone and compellingly brings out the grand emotional sweep of this work, while Grimwood alternates between dreamy romanticism and grand passion. The playing of this movement was particularly inspired. The last movement is jaunty and dance-like and it allows opportunity for virtuoso display from both instruments. The players are undaunted by the challenge and both display a considerable range of pyrotechnics, tone colour and textural variation throughout. The interplay is excellent and between them they bring the piece to a dramatic and successful conclusion. Grimwood’s programme notes are concise and interesting particularly in the way they highlight the historical background and musical influences of the three works. Robert Beattie

Posted on Sunday December 19 2010
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SONATAS in Gramophone

Most collectors approaching this CD will be drawn by the works of Brahms and Strauss but the bonus, a sonata by Austrian composer Ludwig Thuille, is a genuine find, powerfully dramatic and lyrical by turns. The touchingly elegiac yet romantic Adagio is truly beautiful, followed by a dancing, light-hearted finale. Thuille was a friend of Strauss, yet today he is all but forgotten. Perhaps this warmly sensitive performance will restore his reputation. This highly rewarding recital opens with Brahms, which the composer described as a piano/cello sonata, the two instruments being equal partners, and they certainly are here. The way in which Jamie Walton and Daniel Grimwood share the partnership is striking, with cello and piano satisfyingly interwoven through three perfectly balanced movements. The first, romantically passionate but with an underlying minor-key, melancholic flavour, is followed by one of the composer’s most winning allegrettos (here described as a quasi menuetto) with a flowing, ländler-like centrepiece. The vigorously bold fugal finale delayed the completion of a work, begun in 1862, until 1865. Strauss’ underrated Sonata is obviously an early work but is rich in freshly memorable themes. It also ambitiously includes a fugato in the first movement, which is conventionally but imaginatively structured, the secondary material particularly appealing, while the Andante is a sad song without words and the finale a canonic vivo, here full of life and sparkle. The playing of Walton and Grimwood throughout is totally responsive, and again integrated with almost uncanny perfection. Congratulations, too, to sound engineer Chris Braclik for his excellent balance in London’s Henry Wood Hall. Ivan March – Gramophone January 2011

Posted on Wednesday December 15 2010
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International Record Review

There’s not a great deal one can say in favour of Richard Strauss’s early Cello Sonata. Formally a bit of a patchwork, it relies too heavily on rhetorical gestures rather than much of substance. You’re aware that a young composer is trying very hard to impress you, but that his ambition is running ahead of his actual attainments in the field of ‘abstract’ music. On the other hand you can forgive him a lot for his sheer panache: the work is really quite fun, some of the ideas, especially in the finale, are undeniably attractive – and a performance like this one is so good that it has you, for a moment, suspending disbelief. Jamie Walton and Daniel Grimwood launch into the impassioned braggadocio of the opening with such fervour and attack that the result is thrilling, even as you recognize that the whole passage is deliberately OTT. They do equally well with the climactic inflation in the finale, and ably prevent the weakly Mendelssohnian slow movement from falling too deeply into sentimentality. This is certainly among the best available versions of this, if anything, over-recorded work, ranking with the ardent rhetoric and instrumental display of Johannes Moser and Paul Rivinius on Hänssler, which I find preferable to Yo-Yo Ma and Emanuel Ax on Sony, where the pianist is so prominently balanced that he almost drowns out Ma’s cello at the big moments. Strauss’s sonata is a youthful indiscretion; the sonata of his close friend Ludwig Thuille, by contrast, is a mature work by a composer of more conservative instincts but impeccable technique. Composed in 1901-02, this is a far more impressive piece that either of Thuille’s early string quartets. Laid out on a grand scale – it’s the longest of the three sonatas here – it effortlessly sustains its length with music of a consistently high quality and interest. If Brahms is an important influence, Thuille’s orientation is very different: the first movement’s turbulent opening subject, with its massive piano writing, gives way to a lyric-heroic second subject of almost Rachmaninov-like grandeur and sweep. Whereas the youthful Thuille of the quartets thought almost entirely in terms of melody, this movement is motif-driven, with large sections generated from small melodic or rhythmic figures of a few notes each. The big, sombre Adagio slow movement is a noble conception, which allows the beauty of Walton’s tone to shine forth while testing his powers of sostenuto playing to the utmost. The muscular finale, by turns playful and sardonic, brings the work to a very satisfying conclusion. This is a sonata that deserves a place in the general cello-piano repertoire. There was an excellent ASV recording by Sophie Rolland and Marc-André Hamelin, no less (the piano part does indeed demand a virtuoso), but the only current available rival seems to be an excellent account by Marcy Rosen and Lydia Artymiw on Bridge, interestingly coupled with the Dohnányi Sonata and something even rarer than the Thuille: Tovey’s Sonata for two cellos. In their different ways Thuille and Strauss (at any rate the teenage Strauss) were very much in thrall to Brahms, who makes a logical third to this intelligently planned programme. Walton and Grimwood turn in a first-rate performance of the E minor Sonata, playing up the lyricism rather than the gruffness in the first movement but rising to a magnificently climactic point of return in the recapitulation. There is a delightful give-and-take between the two players in the minuet-like second movement, while in the fugal finale they are like a single focused organism, firm of purpose in carrying the separate voices of the polyphony onward to an absolutely decisive conclusion. There are many competing versions equally good, of course – and Steven Isserlis with Stephen Hough are even better, as is Piatigorsky’s 1936 account with Rubinstein, Rostropovich’s with Rudolf Serkin, and Janos Starker’s with Rudolf Buchbinder. However, I would suggest that the Thuille Sonata is enough on its own to make this disc worth considering. Not only are the performances uniformly excellent but the perfection of the instrumental balance and the vividness of the recording are quite exceptional.

Posted on Sunday December 12 2010
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Star CD - MUSO Magazine!

This most Germanic of romantic cello sonata collections is all about youth – or rather later youth, when early artistic experimentation gives way to something a little more controlled. All three sonatas here come from the formative stages of their composer’s careers, and – to keep the theme going – they are played by the youthful British pairing of cellist Jamie Walton and pianist Daniel Grimwood. Richard Strauss wrote his Cello Sonata in F Op 6 at the age of 18. It’s a mix of Brahmsian conservatism – that he’d soon abandon – and high-flung heroic gestures, which would become his trademark. Walton captures the rapturous exuberance of the cello part from the opening chords to the leaping lines of it’s hunt-like finale, and the technically demanding piano part is played very convincingly by Grimwood. Tricky piano parts are a staple of many romantic sonatas; they’re sometimes even more demanding than the solo part. With his Sonata in E minor Op 38, Brahms lets the pianist know that they’re a soloist in their own right. Grimwood tackles this part brilliantly, particularly the work’s closing fugue. Walton is no slouch either, and I love the way he accelerates into the climax of the opening movement. The disc closes with Ludwig Thuille’s Sonata in D minor Op 22. In his sleeve notes, Grimwood argues that Thuille deserves more recognition, and I agree – this is a fascinating work from the composer’s early output that contains plenty of harmonic inventiveness and intensity. Though Walton and Grimwood have already tasted plentiful acclaim, it’s clear they still have lots to offer us. By Simon Benger - MUSO Magazine Dec ‘10/Jan ‘11

Posted on Sunday December 12 2010
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SONATAS in The Strad

A wonderfully exuberant Strauss Sonata opens this disc, the second of the British duo's Romantic sonata series. Daniel Grimwood writes in the booklet of the 'fiendish piano and awkward cello writing', but there's no hint of this in their performance. Jamie Walton's 1712 Guarneri soars expressively in the Andante, and the spirit of Till Eulenspiegel is already evident in the Allegro vivo, whose false starts and cheeky humour are aided by well-judged rubato. Walton keeps a light touch for the C·string opening of Brahms's E minor Sonata, creating a pleasingly soft tone colour. His ability to make even a single note deeply expressive comes into its own in the more fragmented phrases, and. after a poised Menuetto, the trio with its sotto voce repeats has a yearning expressiveness. The finale's opening octaves fire out like bullet shots, with Walton's playing punchy and athletic. The turbulent, concerto-like piano part of the sonata by Strauss's friend ludwig Thuille is passionately played by Grimwood.lt is Walton's focused. earthy cello sound that opens the work, however. and he enjoys some unashamedly heart-on-sleeve melodies in the Adagio. The restless Allegro with its chromatic touches and dotted rhythms makes a well-characterised finale. By JANET BANKS - The Strad November 2010

Posted on Tuesday November 23 2010
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SONATAS - Recording of the Fortnight

Classical Music Magazine - Recording of the Fortnight The music of Ludwig Thuille is finally getting exposure and here the cello sonata is given a convincing showcase. Set beside a warmly lyrical performance of Brahms’ E minor sonata, the melodic intricacy and varied moods of Thuille’s work come to the fore. Taking a break from their Anglo-Russian explorations on the Signum [Label], this brilliant duo revel in the romanticism, conjuring up the fiery vigour of Strauss’ youthful essay and the gravitas of the other two works. By Phillip Sommerich, 20th November 2010

Posted on Tuesday November 23 2010
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Twitter

Do sign up and follow JLC on Twitter - the first place for news and special offers from and through JCL. www.twitter.com/jclrecords See you there! JCL

Posted on Monday November 15 2010
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Sonatas CD Review

The first of many reviews for SONATAS goes to the Yorkshire Post! Brahms/Strauss/Thuille – Cello Sonatas (JCL Records JCL516): Riding high in the world cello rankings, Jamie Walton's new album links the familiar Brahms first sonata with an early work by Richard Strauss, and a very fine, but an almost unknown, score from the Austrian composer Ludwig Thuille. This is passionate warm-hearted playing with faultless intonation and technically immaculate. And the sound quality is exemplary. DD Yorkshire Post November 2010

Posted on Monday November 15 2010
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JCL 516 SONATAS

JCL Records' latest release SONATAS featuring world-class cello/piano duo Jamie Walton and Daniel Grimwood. Exclusively available as download through iTunes from Tuesday 29th June 2010. CD in all good records shops from Monday 6th September. Stay tuned for more information or sign up to Twitter.com/jclrecords. Cheers! JCL

Posted on Wednesday May 26 2010
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Robin O'Neill conducts LPO

Robin O’Neill conducts the London Philharmonic Orchestra Sunday 16th May, 3pm Congress Theatre, Eastbourne Robin O’Neill conductor Libor Novacek piano Mozart Symphony 35 (Haffner) Liszt Piano Concerto 1 Brahms Symphony 2 The Fourth might be a monumental finale, the First a compelling struggle of birth, but Brahms’s Second Symphony is his most natural and fluent. It ‘springs forth like Minerva’ as Robert Schumann predicted, flowing effortlessly as a stream, abounding in pure, exhilarating joy. In its gregariousness it mirrors Franz Liszt: the great entertainer of 19th century music and the most brilliant virtuoso who ever lived. In his First Piano Concerto of 1855, Liszt strode onto the European concert stage and immediately changed its proportions forever. Tickets £12-£24 Premium seats £28 Discounted subscription packages available. How to book and venue information: W: www.eastbournetheatres.co.uk T: 01323 412000

Posted on Thursday May 13 2010
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JCL Records' latest recording

JCL Records is delighted to announce that the latest recording JCL516 has now been mastered and will be ready for purchase exclusively online from 22nd June 2010 and for general release from 6th September 2010. World renowned cellist, Jamie Walton and long-term duo partner pianist, Daniel Grimwood, team up for an epic 80 minute three sonata recording featuring: Strauss, Brahms and Ludwig Thuille. Special previews will be available through www.jclrecords.com in the run up to the on-line release. Keep an eye on developments online through our Twitter and news pages. www.twitter.com/jclrecords

Posted on Wednesday May 05 2010
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JCL Records have something to Twitter about!

Follow JCL Records on Twitter to stay in touch out about new releases, gigs and recording news.

www.twitter.com/jclrecords

Cheers,
Jonathan

Posted on Tuesday August 04 2009
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JCL Records sign distribution deal with Chandos

The Classical Shop, the on-line shop for Chandos Records, have signed a digital distribution deal with JCL Records to sell all recordings on the label through their website. All recordings are available as MP3 or High Definition and CD artwork is also available to download. Follow the links below to see and hear more: www.chandos.net www.theclassicalshop.net Cheers, JCL

Posted on Wednesday July 22 2009
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Mark Austin Joins JCL

JCL is delighted to announce that Mark Austin, now finished with his studies up in Cambridge has joined JCL to experience life in the fast lane. Mark brings a wealth of knowledge and experience to his role at JCL working in the Marketing, Artist Management and JCL Records team. You can contact Mark on mark@jonathancooke.co.uk Cheers, JCL

Posted on Monday July 06 2009
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JCL 513 Dichterliebe

the long-awaited release of JCL 513 Dichterliebe is now here Come to Schotts Music Shop, Great Marlborough Street, London at 18.30 to hear the London debut of Carl Herring's ground breaking new arrangement.

Dichterliebe is now available to purchase through this website. Listen to selected tracks and purchase on-line.

Thanks!

Jonathan

Posted on Friday May 01 2009
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Jonathan Cooke Limited Records - JCLRecords