GEORGE ENESCU : Cello Sonatas Nos. 1 and 2 (Buruiana-Tchiba) (2008) FLAC (tracks+.cue), lossless

Although George Enescu published both of his cello sonatas under Op. 26, almost 40 years passed between their respective compositions. In a way, the striking differences between the two sonatas encapsulate much of Enescu's entire output. The First Sonata is very much in the solidly tonal, late-German Romantic camp. By the time of the Second Sonata, Enescu had completely matured and developed his own voice, both harmonically and melodically. Although published as being in C major, the Second Sonata continually shifts the focus of tonality while still leaving the listener feeling grounded, though rarely in C major. Both of these works have been criminally neglected and are finally being given the respect they deserve as masterpieces of the repertoire.

This Naxos album features cellist Laura Buruiana and pianist Martin Tchiba in what could have been a reference recording of these sonatas. Buruiana's playing is technically brilliant, with spot-on intonation, sweeping musical gestures, and a clear understanding of the score and how her part dialogues with the piano. Likewise, Tchiba is an elegant pianist who produces a wealth of colors that are so necessary in the frequently changing tonal environment of the Second Sonata. The problem -- and it's a big one -- is balance. There are entire passages where the cello is quite simply inaudible. Buruiana appears to be scrubbing away, drawing as much sound from her instrument as possible. Whether the balance issue stems from overexuberance on the part of Tchiba or a mixing/microphone issue from Naxos is not completely clear, but the result is the same: it's difficult to recommend an album of Enescu's cello sonatas, no matter how well-performed they are, if the cello itself can't be heard clearly. by Mike D. Brownell 

 Chamber music was a prominent feature of Enescu’s music from his earliest years. Though separated by almost four decades, the two Cello Sonatas were not published until 1935. The First is indebted in many respects to Brahms and to Enescu’s French contemporaries, but the Second, dedicated to Pablo Casals, could only be by Enescu in its density of thought and subtlety of expression. The finale is marked à la roumaine, which aptly describes the work’s overall character and the profile of its material. Naxos
More About this Recording