Johannes

BRAHMS
Sonatas for Cello and Piano Op.38 and Op.99
Klavierstücke Op.76

Kate Bennett Wadsworth | cello

Yi-heng Yang | piano
While the historical performance movement was those technical markings to make more intuitive and “Gestaltungskraft” (the power of shaping). parallel to vowels and consonants in speaking or
only in its infancy during his lifetime, Brahms sense, as well as concert reviews, personal cor- “Imagine a composer to whom a melody has singing. In my research, I learned that sliding
and his circle knew what it was to draw inspira- respondence, and articles on Brahms’ music and suddenly occurred,” she writes. “While this was an important feature in vocal declamation
tion from the music-making of the past. Brahms playing style by musicians who had known him is still a liquid and live thing in his mind and throughout the 19th century, which affected not
edited the works of François Couperin and was especially well and could put all of the advice we while the emotion which gave rise to it is still only opera singing but stage acting and public
deeply familiar with other 17th-century compos- found into a broader context. there he writes it down in case he should forget speaking as well. My original associations with
ers such as Heinrich Schütz (in fact, some have it - puts the bird in a cage, in fact - to prevent it sliding, on the other hand, were rooted in the
speculated that his German Requiem is directly Most intriguing of all were the recordings made from flying away. This in itself is doing a violence 20th century: sentimentality (Bing Crosby), deep
indebted to Schütz’s Musikalische Exequien). by some of his younger colleagues, especially to the idea as it is to the bird, but that can’t be suffering (Jewish cantorial singing), and whimsy
His close colleague, the violinist Joseph Joachim, the women. At the turn of the century, it was helped.” According to this philosophy, the nota- (colleagues goofing off in rehearsal), and it took a
brought J.S. Bach’s solo violin music to the cen- still common for female musicians to withdraw tion is itself a distortion of the music, and a great sustained effort to set these associations aside and
tral place in the repertoire that it still occupies from public concerts after marriage, while still performer is someone “who tries through close rely instead on the natural pitch inflections that
today, and the violin method he co-authored continuing to play (and even perform) in private. observance of the shadow to get in touch with the occur in our speaking voices.
with Andreas Moser refers to treatises as far back As a result, there is a small but astonishing set of real thing that has cast the shadow”. The implica-
as the mid-16th century. Brahms’ favourite cel- recordings from as late as the 1960s that preserves tions of this philosophy for timing come through For Yi-heng, the habit to unlearn was the modern
list, Robert Hausmann, unearthed and published a style of playing untouched by the revolutions of not only in early recordings but also in written pianist’s fixation with playing all of the notes of a
editions of 18th-century music and also played the early 20th century. accounts of Brahms’ own playing. According to chord at exactly the same time. The earlier prac-
the viola da gamba, at that point an extinct in- the pianist, Fanny Davies, “Brahms’s manner of tice of spreading chords, as well as delaying a beat
strument. They might have been surprised to see When Yi-heng and I listened to the Brahms interpretation was free, very elastic and expan- in one hand while anticipating it in the other,
the movement eventually double back on itself circle recordings, we felt as though we had made sive; but the balance was always there - one felt had become associated in the 20th century with
and apply historical performance principles to instant friends with these musicians. Their per- the fundamental rhythms underlying the surface sloppy playing. Used with conviction, however, it
their own instruments and playing styles. formances became touchstones to us as we pieced rhythms.” Within this style, rhythmic flexibility can take on the same function as a visual artist’s
together all of the written information on a style is as fundamental to good phrasing as the subtle technique of drawing one table leg a bit longer
In 2015, I had the privilege of working with Clive that was like and unlike the classical music tradi- inflection of dynamics and tone colours that we than the other to suggest a three-dimensional
Brown and Neal Peres da Costa on an edition of tion we had been taught. One element we had to still use today. world through a two-dimensional medium. An
the Brahms cello sonatas (Bärenreiter) that in- learn from scratch was an elastic sense of timing asynchronous chord - as today’s harpsichordists
cluded not only everything Brahms had marked that allowed performers to parse and shape Other stylistic challenges came from techniques demonstrate so beautifully - can give each beat
in the score, but also every last scrap of informa- the music at every level. A remarkable memoir that had taken on a very different meaning its own texture and thickness, which in turn
tion we could find on the technique and taste of by Marion Bruce Ranken, a violinist who had during the 20th century, creating false associa- can help to highlight the keyboardist’s decisions
Brahms and his musical circle. We looked at early studied at the Berlin Hochschule while Brahms’ tions in our minds that we had to unlearn. 19th- about voicing and harmonic shading.
editions of the sonatas, which used fingerings closest colleagues were teaching there, reports century string fingerings incorporate a complex
and bowings we would never have thought of that her teachers avoided the term “rubato” and language of audible shifting, in which sliding A common refrain among early recording
today, treatises and musical memoirs that helped instead spoke of “Freispielen” (free playing) and left-hand articulation take on a significance enthusiasts is the wistful sigh, “You could never
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get away with playing like that nowadays.” While composer’s work. At the same time, the concept In 1868, Johann Baptiste Streicher’s company other voices. Soprano lines sing easily, with in-
the Brahms circle’s playing style is no longer in of good technique became increasingly centred gave Brahms a piano that he used for the rest of his candescent tones that lend themselves beautifully
living memory, the oldest of our teachers and on a noiseless transition between notes, which life, and, thanks to the generosity of Peter Sykes, to flexible tempi and lyric nuance. 
colleagues remember being forbidden to take can create the impression of cleanliness but also we were able to use the same Streicher model for
the artistic liberties necessary to play in it. The eliminates a whole canvas for expressive nuance. our recording. Every register of the keyboard has While the sound of the piano can be full and
vivid yet nuanced inflections of timing and We feel that the 21st century has no need for its own distinct character, with various timbres rich, it also contains an organic and translucent
pitch that had a sincere, speechlike quality in these prejudices, and that putting the old artistic resembling strings and woodwinds. This luscious tone that resembles a human voice. The pliable,
the 19th century became associated in the 20th freedoms back into circulation can give Brahms’ aural palette makes it easy to achieve powerful breathing quality that comes across in the arc of
century with flippancy and waywardness at music the freshness and vitality that it deserves. orchestral effects without harshness, and to sounds when notes are struck render it an espe-
best - at worst, with a brazen disrespect for the - Kate Bennett Wadsworth bring out all of Brahms’ contrapuntal lines cially apt duo partner for a stringed instrument.
without risking a crowded or murky effect. The With its gentle clarity and resonant harmonics,
instrument has a touch that feels like sculptor’s the piano can both envelop and provide an easy
clay, rather than the feather-pen and ink, rapid counterpoint to the warm, gut-string sound of
and light touch of a Mozartian fortepiano.  In the cello. By playing the Brahms sonatas on this
the left hand, tenor voices come through with instrument, we felt that we were granted extra
great strength and definition, and the resound- possibilities for equal partnership, flexible phras-
ing basses can provide harmonic richness and ing, blending, and spontaneous interchange. 
rhythmic vitality without overwhelming the -Yi-heng Yang

We would like to thank Peter Sykes for lending us the beautiful 1875 Streicher from his collection,
as well as the Second Church in Newton for the use of their sanctuary. Special thanks also to Sarah
Darling and Matthew Wadsworth for their invaluable help at all stages of this project, from the initial
conception of the disc through to editing and proofreading.

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This recording project could not have gone forward without the incredible support and enthusiasm of our
crowdfunding backers: This is the debut album of the duo, Kate
Jonathan Addleman Elizabeth Gallaher Josh Packard Bennett Wadsworth and Yi-heng Yang, a
Seth Ament Leonie Gordon Eric Paetkau musical partnership that has been slowly
Anonymous Job ter Haar Michelle Pincombe
ripening over nearly two decades of
Edward Ascoli Josje ter Haar Sarah Paysnick
Laura Bacon Tom Hanson Felicity Pickup music-making. Their recitals on historical
Erika Barnes Lucas Harris Urbain du Plessis instruments have focused mainly on the
Kathryn Bascamot Erin Himrod Wendy Richman 19th-century German tradition(s), and
Don Bashline Knud Jørgen Holck Rhonda Rider
have been called “sublime” by the Boston
Tsvetan Beloreshki Marika Holmqvist Bill Riley
Michael and Susan Bennett Jacques-André Houle Clara Lee Rous Musical Intelligencer.
Ruth Ann Bennett Jui-Ting (Victor) Hsu Lucy Russell
Dave Benson Steven Hurowitz Julia Sandler Cellist Kate Bennett Wadsworth has
Tamara Bernstein Teddie Hwang Norman Schuett
appeared as a soloist with Arion Baroque
Stefanie Bester Jane Jardin Toni Schuett
Brian Boyle Mari Ito Dan Sedgwick and Marji Gere Orchestra, Les Bostonades, Les Goûts
Kass Braden and Gerald Keusch Hy Kempler Adrienne Shapiro Réunis Luxembourg, and Norwich
Dorothea Brown-Doblhoff Dr. George Kennaway Jeffrey Smith Baroque, and as a chamber musician and
Matthew Budd Alexandra Kontes John Snijders
continuo cellist with period ensembles
Sandra Burgoon B.J. Korobkin Natana Soto
Maryanne Cantrell-Colas Marcy Kulakow Andrew Spindler across Europe and North America. Kate
Phoebe Carrai Barbara Landy Steve Stellman studied modern cello with Laurence Lesser Pianist Yi-heng Yang has appeared as soloist at
Tim Carter Trudy Lambie Christopher Suckling at the New England Conservatory and baroque The Boston Early Music Festival, The Frederick
Lauren Cattaneo Jane Lauridsen Miho Tago
cello with Jaap ter Linden at the Royal Dutch Collection, The Finchcocks Collection, The
Joseph Cheung Julie Lee Julia Tobias and Daniel Effron
Jungyoon Cho Shaun Lee-Chen Alice Valentine and John Zeugner Conservatory in The Hague, after completing Cobbe Collection, The Metropolitan Museum of
Tony Chu Jesse Lewis and Megumi Stohs Lewis Bill Velardocchia a bachelor’s degree in Scandinavian studies at Art, and Avery Fisher Hall. She performs with
Conrad Cummings Emily Lin Marc Violette Harvard College. She has recently completed a members of the New York Philharmonic, the
Rebecca Cypess Sayuri Miyamoto Vita Wallace
practice-led PhD in 19th-century performance Netherlands Kamerorkest, and Apollo’s Fire.
Cathey Cyrus Andrus Madsen Phillip and Mary Warbasse
Eric and Margaret Darling Joanna Marsden Marvin J. Ward, Ph.D. practice with Clive Brown at the University of Recordings include the music of Mendelssohn
Jim Darling Ed Matthew Assaff Weisman Leeds, focusing on the richly annotated editions with violinist Abby Karr on period instruments
Sara DeCorso Ingrid Matthews Susan Wexler of the cellist Friedrich Grützmacher (1832-1903). for the Olde Focus label, and 18th-century forte-
Moshe Einav Robert Mealy Richard Whalley
Drawing on similarly marked-up editions, as piano and harpsichord duos with Rebecca Cypess
Marilyn Emanuel Dr. Roger E. and Mrs. Sheila M. Meyer Melody Woo
Michael Errico M.F. Mullin Beverly Woodward well as treatises, memoirs, early recordings, and on the Acis label. Yi-heng is on the piano faculty
Jill and Ron Fairchild Rona Nadler Chungshu Yang other historical sources, she has also prepared an- at The Juilliard School Evening Division and
Ken Ferry Ross and Susan Neisuler Sue Yelanjian notated editions of the Brahms cello sonatas, in Pre-College, at the Apple Hill Chamber Music
Jason Fisher Aisslinn Nosky Mark Yessian
collaboration with Clive Brown and Neal Peres Center, and teaches 19th century performance
Alyssa Fong Johanna Novom John and Elizabeth Zinner
Elinor Frey Claudia Pacheco Lawrence Zivin da Costa and published by Bärenreiter. practice at Rutgers University.
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 Johannes
BRAHMS
DXL1181

Kate Bennett Wadsworth | cello

Yi-heng Yang | piano

SONATA FOR PIANOFORTE AND VIOLONCELLO, Op.38

1 Allegro non troppo 13:31
2 Allegretto quasi Menuetto 5:16

3 Allegro 6:33

KLAVIERSTÜCKE, Op.76
4 Capriccio in F sharp minor 3:47

5 Capriccio in B minor 3:36

6 Intermezzo in A flat major 2:05

7 Intermezzo in B flat major 2:12

8 Capriccio in C major 3:30

SONATA FOR PIANOFORTE AND VIOLONCELLO, Op.99

9 Allegro vivace 8:37
10 Adagio affettuoso 5:41

11 Allegro passionato 7:32

12 Allegro molto 4:38

Producer - Sarah Darling Associate producer - Andrus Madsen

Recording Engineer - Angus Lansing
Piano tuning and maintenance - Dale Munschy
Cover design - S.L. Chai Photography - Hannah Shields
Front cover art: Storm in the Mountains, Hermann Ottomar Herzog (1832-1932)
Recorded at the Second Church in Newton, Massachusetts, USA, 10-14 March 2017
C P 2018 Deux-Elles Limited, Reading, UK. www.deux-elles.co.uk