Brahms: Cello Sonatas

Alisa Weilerstein plays with a wonderful instinct for these deeply Romantic Cello Sonatas. Her rich tone and subtle use of sighing portamentos (sliding between notes) contribute to her profoundly expressive performances—ones in which her cello, in places, gives voice to almost palpable despair. The opening movement of Brahms’ Cello Sonata No. 1 in E minor, composed in 1862, is certainly sorrowful, although it occasionally smiles through tears. All this is eloquently demonstrated by Weilerstein’s warm singing tone, well supported by her regular and superb pianist partner Inon Barnatan. In these works, however, Barnatan quite rightly gives center stage to the cello, which carries the main emotional burden of Brahms’ music. The mood lightens for the next two movements: the “Allegretto” second movement—in the form of a dance-like minuet and trio—and the lively and upbeat “Allegro” finale. Between the two cello sonatas, Weilerstein and Barnatan perform Brahms’ warm Violin Sonata No. 1—not in the usual D major transcription for cello, but in its original key of G major. This allows Weilerstein to relish her instrument’s deep baritone register, in a way that sounds utterly natural. Finally, Brahms’ bold and extrovert Cello Sonata No. 2 of 1886. Though relatively sunny, the second movement “Adagio affettuoso” brings sudden changes of mood and atmosphere: one moment softly spinning fairytale enchantment, the next doleful, then stoic. Weilerstein and Barnatan guide us expertly and seamlessly through the work’s complex emotions.