CELLO SONATA / POLONAISE BRILLANTE / GRAND DUO

Maria Kliegel (cello) & Bernd Glemser (piano)

Chopin:
 Cello Sonata in G minor, Op. 65
 Étude Op. 10 No. 6 in E flat minor 'Lacrimosa'
 Étude Op. 25 No. 7 in C sharp minor
 Grand Duo concertant
 Grand Duo for Cello and Piano (on themes from Meyerbeer's Robert le Diable)
 Introduction and Polonaise Brillante in C, Op. 3
 Nocturne No. 20 in C sharp minor, Op. post.
 Polonaise brillante Op. 3 for cello & piano
 Waltz No. 3 in A minor 'Grande Valse Brillante', Op. 34 No. 2

"Chopin's Cello Sonata is surely one of the most glorious works in the entire repertoire...And Maria Kliegel certainly seems well-suited to this work, lavishing much colour and subtle rubato in the first movement, greatly propelled forward by some marvellous piano playing from Bernd Glemser…"
Classic CD - September 1996

"Here are Chopin's complete works for cello and piano complemented by an intriguing garland of encores. Performed with youthful relish, impressively balanced and recorded, this is a notable offering. Clearly, Kliegel and Glemser have few reservations concerning the sonata's surprisingly Germanic overtones. Recognisably Chopin in virtually every bar there remains an oddly Schumannesque bias, particularly in the finale's tortuous argument – an irony when you consider that Chopin had so little time for his adoring colleague. Yet this awkward and courageous reaching out towards a terser form of expression is resolved by both artists with great vitality and, throughout, they create an infectious sense of a live rather than studio performance. Kliegel and Glemser are no less uninhibited in Chopin's earlier show-pieces, written at a time when the composer had a passing passion for grand opera and for what he dismissed as 'glittering trifles'. Their additions (transcriptions by Glazunov, Piatigorsky and Ginzburg) remind us how singers, violinists and cellists beg, borrow or steal Chopin from pianists at their peril. As Chopin put it, 'the piano is my solid ground; on that I stand the straightest', and his muse has proved oddly and magically resistant to change or transcription. Still, even though the selection often suggests an alien opacity, the performances are most warmly committed."
Gramophone - Classical Music Guide 2010