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Luigi Boccherini
Sonata in A major G 4

Luigi Boccherini was perhaps the greatest cellist of the 18th century, and like his compatriot of a previous generation, Domenico Scarlatti, he spent the most active portion of his professional life at the court of Spain. His royal patron, the Spanish Infante Don Luis Antonio, younger brother of King Carlos III, was a music-loving prince with his own string quartet. The addition of Boccherini to this ensemble was likely the creative prompt for the more than 100 string quintets – in the unusual configuration of 2 violins, viola and 2 cellos – for which he is principally known.

A cellist of extraordinary technical skill, Boccherini, like Paganini after him, wrote for his own hand and acquired a reputation as a virtuoso performer through performances of his own works. One feature of his playing that astonished his contemporaries was his predilection for playing the violin repertoire, at pitch, on the cello, and indeed passages in which the cello plays in the high register are a recurring feature of his own scores.

His musical style stands at the intersection of two eras: floridly ornamental in the late Baroque manner, but early Classical in its slow harmonic rhythm and clear periodic phrasing, with direct repetition of short phrases a prominent characteristic.

The opening Adagio of Boccherini’s Sonata in A major displays well the style of ornamentation for which he was well known. Its gracious but relatively unadventurous melodic lines are set within an elaborate filigree of appoggiaturas, trills and flamboyant scalar flourishes. An ascending arpeggio in the penultimate bar nearly sends the cellist off the fingerboard to reach a high E above the treble staff.

The following Allegro demonstrates Boccherini’s ability to create an entire movement out of the repetition of small phrases and fragmentary motives. His habit of slurring phrases from a weak beat to a strong gives his music a gentle gracefulness that has even been called “effeminate,” a quality noticeable, as well, in the insistent sigh motives of the concluding Affettuoso. It is no wonder, then, that the good-natured charm of his works led to his being called “Haydn’s wife.”

Claude Debussy
Nocturne and Scherzo

Debussy made his first public appearance as a composer in 1882 in a performance of his Nocturne et Scherzo, a work originally scored for violin and piano but later that year revised for cello. This work of his student years was performed only once and then vanished from the public record until the manuscript was rediscovered in the early 1970s and Mstislav Rostropovich gave it a ‘second debut’.

It is comprised of two sections, arranged in a rounded three-part A-B-A form. Despite the titling, the scherzo is actually the first section, imprinted throughout with the 2nd-beat emphasis and drone tones of a mazurka. The second section is the dreamy nocturne, that in its lilting rhythms seems to evoke the nostalgia of a gentle waltz more than the stillness of the night.

Claude Debussy
Sonata in D minor

Debussy’s compact little sonata for cello & piano was written in 1915 as part of a series of instrumental sonatas meant to assert the value of French culture during a depressingly long war that Debussy saw as threatening France’s very survival. The work comprises three movements, each successive movement shorter than the previous.

The first movement Prologue announces its motivic foundations in the first bar: a quick triplet and long note, followed by a descending modal scale figure. Rhapsodic elaborations of the triplet figure form its first theme, tender ruminations on the descending scale figure its second. An animated middle section prepares for the triumphant return of the opening material and its serene farewell.

The Sérénade that follows lives up to its title with ample pizzicato writing for the cello and a fair imitation of guitar strumming in the piano. Capriciously paced and leering with portamento slides, this movement pursues its evening entertainment goals with infinite delicacy.

In contrast to the spare scoring of the previous movements, the Finale simply bubbles over with running notes. This is a movement in a hurry to get somewhere, but the scamper is often rewardingly interrupted by—or superimposed with—long strands of lyrical melody.

Jean Sibelius
Romance Op. 78 No. 2
Malinconia Op. 20

Sibelius, though best known today for his symphonies and Violin Concerto, could not live off these large-scale works alone. And so it was that during The Great War (1914-1918) he composed a set of four pieces for violin and piano, Op. 78, expressly directly at the domestic market. These were simple tuneful pieces intended for amateur performance in the home.

The second of this set, simply entitled Romance, soon became one of his most popular compositions, and this work has remained a staple of both the violin and cello repertoires. The wistful carefree character of its eminently hummable melody encapsulates the period’s nostalgia for an age of parlour music that would soon slip away into memory.

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In February of 1900 the typhus epidemic that was sweeping through Finland claimed the life of Sibelius’ 15-month-old daughter Kirsti. From the pain of this event came a work shortly thereafter for cello and piano entitled Malinconia (Melancholy), a work in which the composer allowed himself to grieve.

The cello recitative with which it opens struggles upward, step by weary step, to arrive at an anguished cry of grief. In response, the piano rips up and down the keyboard as if to paint the flailing of pleading arms in the wind.

Each instrument is given extended solo cadenzas that exploit the extremes of their range. When playing together, they often play apart: the piano in syncopated pulses of bewilderment deep in the bass against the cello’s wailing melody in the mid-range. Or they quiver at each other in turn, in passages of sustained tremolo. French composer Eric Tanguy has deemed this work “utterly unique in the entire literature of music for cello and piano.”

Franz Schubert
Sonata in A minor for Arpeggione and Piano D 821

Schubert’s Arpeggione Sonata was composed in 1824 but only published in 1871, long after the composer’s death in 1828, and almost as long after the principal instrument for which it was written fell out of favour.

The six-stringed arpeggione was a kind of large bowed guitar that enjoyed a brief period of popularity after its invention in 1823 by the Austrian luthier Johann Georg Stauffer (1778-1853). It was fretted and tuned like a guitar, but held between the legs without a floor peg and played with a bow like the cello. Schubert may have been prompted to write a sonata for the instrument through his acquaintance with the Viennese arpeggione-player Vincenz Schuster. While the instrument still exists, its adepts are few in number and Schubert’s sonata is mostly played nowadays in transcriptions for viola or cello.

The work opens with a memorable tune, more wistful than melancholy, in the home key of A minor, delivered with the direct simplicity that would later characterize the opening theme of the Schumann piano concerto. By a mixture of mincing steps and bold gestures we are led to the movement’s principal glory: its toe-tapping second theme. Constructed out of a series of harmonic sequences and carefree leaps, this second theme is what a Happy Face emoticon would sound like, if it could sing. Playing it in subways and public squares could collapse the market for anti-depressants. It’s the joyful music your dog hears in its head when running to fetch a ball for you. And while the development section spends much of its time in the minor mode, the underlying effervescence of its musical material keeps it from veering in a dark direction.

The Adagio second movement is hymn-like in its steady processional pace, with a Beethovenian earnestness of sentiment and a fireside warmth of tone that foreshadows Mendelssohn. It slows to a crawl at the end to provide a springboard for the moderately paced Allegretto finale that follows immediately on. The opening refrain theme of this rondo is so Brahmsian in its dignified pace and emotional restraint, one can almost hear the chorale theme from the finale of the Brahms First Symphony just waiting in the wings to be composed. The livelier contrasting episodes flicker in and out of the minor mode in a way that suggests Hungarian folk music, but the major achievement in this movement is the way in which Schubert creates contrast while maintaining an unflappable evenness of mood.