Arto Noras and Bruno Rigutto taped Beethoven’s five cello sonatas for Finlandia in 1995. Their performances, though often creditable enough, failed to attract widespread critical acknowledgement at the time, so it’s good to re-evaluate the cycle now on the budget Ultima label. First, all you get here are the regular sonatas–the three variations sets and the cello transcription of the horn sonata are excluded. You won’t miss the latter, but Disc 1 contains only the two Op. 5 works, neither of which are lengthy, so the two Mozart-based variation sets could have been accommodated, leaving room for the Handel “Conquering Hero” variations on Disc 2. The second caveat is that the recording isn’t ideally balanced–even allowing for Noras’ huge sound the piano tends to dominate most of the time. Given these considerations, nothing here displaces DG’s reissued traversal from Fournier and Kempff, recorded in 1965 but still largely unsurpassed. The digitized transfers are excellent, and DG’s two-disc set also includes the three variation works.
The Noras/Rigutto cycle offers a decent performance of the A major Op. 69 work. The opening Allegro has ample vitality and momentum. Even the hushed opening unison presses forward urgently, but with Fournier and Kempff the melodic lines, especially in the second subject, are more beautifully etched and you feel the music has time to breathe and afford greater contrast. Noras and Rigutto are finest when the mood becomes darker and more intense, so the unsettled, mercurial quality they bring to Op. 69’s scherzo (faster than Fournier’s) works better. Rigutto’s deftly sensitive pedalling brings more rapture and intimacy within the piano writing than Noras’ clear, bell-like cello tone permits in the Adagio, where you often miss the mystery and nobility that Fournier always found in this short but highly intense movement.
Another interesting performance here is that of the final sonata, Op. 102 No. 2, with its very well played closing fugue. Sometimes you even feel that Fournier’s playing was a little too smooth and unruffled for such a labyrinthine and demonic invention, because Noras never lets you forget that this is “difficult” music (exploratory Middle-period Beethoven) for players and listeners alike. The bite of bow on string and the rigor and ardour of the musical exchanges between both players (Rigutto is often too loud still) will fully engage your interest. On balance, this is a creditable bargain set, missing variations notwithstanding, and it may well appeal if you’re on a tight budget. Otherwise, go for Fournier and Kempff’s DG set, with its finer sound and incomparable musicianship.
