Beethoven: Complete Sonatas for Cello and Piano; Variations on themes from “The Magic Flute”. Pablo Casals, cello; Rudolf Serkin, piano. These are exalted performances, noble, penetrating, with beautifully shaped phrasing and intense characterization. Well, what did you expect, it’s Casals and Serkin. Casal’s tone can be a little scratchy at moments, and he adds a bit of vocalizing, but the recorded sound from the ’50’s is quite fine. In his book on the Beethoven piano sonatas, Charles Rosen points out the unorthodox formal scheme of both the piano sonata, Op. 101 and the cello sonata Op. 102, Nr. 1, both of which have four movements played attacca, and several of the cello sonatas have comparably unusual forms.
The Blues and the Abstract Truth; Oliver Nelson. Of the many performances you have heard of Stolen Moments, the first track on this classic, few have quite the right relaxed, slightly dragging lope of the original. The record features a starry “little big band”, with three saxes, trumpet and rhythm. The arrangements are brilliant – I noticed a brief Gil Evans-esque moment recalling “Miles Ahead” – and the soloists are comparably fine. I especially enjoyed Dolphy’s contributions, sounding very fresh coming in from deep left field.