ORFEO International – Catalogue


C 750 101 A

Felix Mendelssohn
Works for Cello and Piano

Orfeo • 1 CD • 72min

Order No.: C 750 101 A

Diapason d
Supersonic pizzicato


F. Mendelssohn Bartholdy: Variations concertantes major op. 17 for Violoncello and Piano
F. Mendelssohn Bartholdy: Sonata No. 1 B flat major op. 45 for Violoncello and Piano
F. Mendelssohn Bartholdy: Auf Flügeln des Gesangs op. 34 No. 2
F. Mendelssohn Bartholdy: Schilflied op. 71 No. 4
F. Mendelssohn Bartholdy: Assai tranquillo b minor (Albumblatt für Julius Rietz)
F. Mendelssohn Bartholdy: Song without words D major op. 109 for Violoncello and Piano
F. Mendelssohn Bartholdy: Sonata No. 2 D major op. 58 for Violoncello and Piano


Daniel Müller-Schott (Violoncello)
Jonathan Gilad (Klavier)

Felix Mendelssohn: Works for Cello and Piano

Chamber music is an intimate genre, that we know. But in the case of Felix Mendelssohn‘s cello works, it was also family-inspired. For his younger brother Paul was obviously a good cellist, and it was to him that Felix dedicated his two cello sonatas and his Variations concertantes op. 17. Daniel-Müller-Schott presents all three works here, accompanied by Jonathan Gilad at the piano. C 750 101 A
C 750 101 A
The playful virtuosity of the Variations, modelled after Mozart and Beethoven, inspires the duo to equally virtuosic brilliance, be it in the passionate eruptions in the seventh variation or the superb, subtle coda as it fades away. The First Cello Sonata is also light and airy, and the Müller-Schott/Gilad duo savour to the full its prevailingly cheerful, merry mood. The grace and passion that Mendelssohn‘s contemporaries already admired in him are here to be found throughout. In the Second Sonata, we find the most beautiful melodicism alongside moments of drama and sound colours that seem not so far removed from the world of Mendelssohn‘s Midsummer Night‘s Dream. Bei der Aufnahme
Bei der Aufnahme
Foto: Privatarchiv Daniel Müller-Schott
Müller-Schott and Gilad here pull out all the stops. We also offer two shorter works for the same instruments: an “Assai tranquillo” in b minor and a “Song without words” in D major op. 109 that is graceful in its outer sections, more agitated in the middle. These here frame two song arrangements by Daniel Müller-Schott that are wholly Mendelssohnian in style: “On the wings of song” and “Schilflied” – two works whose rather melancholic, cantabile melodic lines “sing” beautifully even without the words of Heine or Lenau (perhaps even more so without them), especially in Müller-Schott‘s superb, moving interpretation, not least when accompanied by a congenial partner such as Jonathan Gilad.

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