Kodaly Solo Cello Sonata, Op. 8. Sonata for Cello and Piano, Op. 4 a. Three Chorale [Prelude] Preludes (after Bach) a. Maria Kliegel (vc); a Jeno Jando (pf).

Naxos (Super budget price) (CD) 8 553160 (64 minutes: DDD).

Solo Cello Sonata/Sonata for Cello and Piano – selected comparison:

Dieltiens, Aimard (3/96) (HARM) HMC90 1560

Solo Cello Sonata – selected comparisons:

Fournier (PRAG) PR250 065

Bengtsson (DANA) DACOCD425

Starker (12/95) (EMI) CZS5 68485-2

Any cellist who can master the wrist-twisting technical demands of Kodaly’s Solo Sonata earns my sincerest admiration. Maria Kliegel rises to the challenge with considerable gusto: harmonics, glissandos (sometimes plucked with vibrato, as on a guitar), sul ponticello, fiery arpeggios – all are expertly employed and delivered via a nicely rounded tone. Kliegel’s lustrous account of the Adagio (to be played con grand espressiono) underlines harmonic similarities with late Liszt (at around 3'35") and the folky, one-man-band finale has plenty of panache. Not so much, however, as Roel Dieltiens, whose wildly spontaneous account I recommended last March, nor Janos Starker, a consummate musician whose various recordings of the sonata (the EMI version, on a six-disc set, is my current favourite) vie with Heifetz’s of the Sinding Suite (RCA, 11/94) and Feuermann’s of Schelomo as among the most sensational examples of bowed virtuosity on record. Another strong – and extremely musical – alternative is provided by the fine Danish cellist Erling Blondal Bengtsson.

Ates Orga’s appreciative booklet-note relates Bartok’s enthusiasm for the Solo Sonata’s “unusual and original style... [and] surprising vocal effects”. In fact, I can’t think of any other work by Kodaly that is so profoundly Bartokian in spirit (propulsive rhythms, novel tonalities, declamatory gestures, and so on). The Sonata, Op. 4 is a far milder piece, though forthright expressive declamation sits at the centre of the first movement and the second is infused with the spirit of folk music. Kliegel and Jeno Jando are in obvious musical accord, and the recording is very good – although if you listen to the ‘Bach-Kodaly’ tracks and wait for the Solo Sonata to start, you’ll note a huge expansion in the cello’s recorded profile. The three Chorale Preludes that open the programme are “attributed Bach” and enjoy the rich trimmings of a thunderous piano part (Busoni-cum-Liszt, with a snatch of Bartok added for good measure) and a warm flood of tone from Kliegel.

A fine bargain, then, and a well-planned coupling – although this is by no means the only music that Kodaly composed for accompanied cello: there’s also the Duo for violin and cello, and at least two more pieces for cello and piano – a Magyar Rondo and a Sonatine. Perhaps Naxos and Kliegel will oblige.
RC