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Fuchs: The Complete Works for Cello & Piano / Osterag, Triendl

Release Date: 05/19/2017 
Label:  Tyxart   Catalog #: 16078  
Composer:  Robert Fuchs
Performer:  Martin OstertagOliver Triendl
Number of Discs: 1 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

The seventh album of this series, and the second with works by Robert Fuchs brings together the complete repertory for violoncello and piano. The Austrian composer is deemed to be one of the most appreciated musicians of the Viennese musical life surrounding Johannes Brahms. The cello works recorded here impressed listeners already at the time of their creation with their inventiveness and elegance. The recordings on hand continue seamlessly where the firs talbum recording with duos and chamber music by Fuchs already closed prominent repertory gaps. While the viola was the focal point initially, here, it is some of the works the composer created for teh violoncello and that can all be counted among the most mature works to flow from his Read more pen. If one were to give but one summarizing keyword for Fuchs' compositions for this instrument, it would no doubt be elegance. Elegance pervades all three operas and demonstrates the exceptionally high standard of this composer, almost forgotten today. Read less

Works on This Recording

Sonata for Cello and Piano no 2 in E flat minor, Op. 83 by Robert Fuchs
Performer:  Martin Ostertag (Cello), Oliver Triendl (Piano)
Period: Romantic 
Written: 1908; Vienna, Austria 
Fantasiestücke, Op. 78 by Robert Fuchs
Performer:  Martin Ostertag (Cello), Oliver Triendl (Piano)
Period: Romantic 
Written: Vienna, Austria 
Sonata for Cello and Piano no 1 in D minor, Op. 29 by Robert Fuchs
Performer:  Martin Ostertag (Cello), Oliver Triendl (Piano)
Period: Romantic 
Written: by 1881; Leipzig, Germany 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Ripe for Revival May 10, 2018 By Ralph Graves (Hood, VA) See All My Reviews "Brahms was a keen admirer of Fuchs. The Cello Sonata No. 1, Op. 29 suggests that admiration was mutual. This 1881 work starts out with a broad, Brahmsian theme that swiftly moves off in its own direction. There's no way to mistake this for Brahms. The phrasing and harmonic motion are all Fuch's own. The second cello sonata, written in the 1910s, is much more sophisticated. Compared to the first sonata, the texture is thicker, and the structure much more compact. Fuchs says what he needs to more efficiently. And while the texture is thick, the harmonies seem leaner. Fuchs was an academic, but he wasn't out of touch. Rounding out the release are his Phantastasiestucke, Op. 78 for cello and piano. These seven little works can be enjoyed individually, or in a single sitting. The pieces are organized in an arch - pieces 1 and 7 are complementary, as are 2 and 6, and so on. Martin Ostertag and Oliver Triendl make a good team. At times the cello and piano seem to blend together. Occasionally, Ostertag's playing has an edge to it. But overall, I found these performances well-suited to the music. And I can only hope this recording may encourage other cellists to consider these beautiful works." Report Abuse
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