Arensky, Rachmaninoff Cello Works
Catalog Number: J120

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ARTISTS
Nancy Green, CELLIST
Frederick Moyer, PIANIST
 
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REPERTOIRE
Arensky: Two Pieces, Op. 12
Petite ballade
 
Danse-capricieuse
Arensky: Four Pieces, Op. 56
Orientale
 
Romance
 
Chante Triste
 
Humoresque
Rachmaninoff: Sonata in G Minor for Piano and Cello Op. 19
Lento: Moderato
 
Allegro Scherzando
 
Andante
 
Allegro Mosso
 
Much of Rachmaninoff’s early style can be traced to his teacher Anton Arensky, a master composer in his own right, who was especially successful in his short works, such as these six delicious works for cello and piano.
Written immediately after the success of his Second Piano Concerto, Rachmaninoff’s Cello Sonata is as great a work, full of sweep, passion, gorgeous melodies and rich harmonies. This is Nancy’s and Fred’s second recording of this work, a favorite in their repertoire.
 
 
“...some of the best chamber playing around. If everyone related as well as Green and Moyer, the world would be a better place.” AMERICAN RECORD GUIDE

“The much-scorned Anton Stepanovich Arensky has been getting some surprisingly good press in Fanfare over the past few years...So has the little-known cellist Nancy Green. Robert McColley, reviewing an earlier JRI collection of familiar music by Schumann, Mendelssohn, Debussy, and Britten, made the strongest claim (understandably trumpeted on the JRI Web site): ‘I have been obliged to keep playing this recording over and over again to convince myself I have not been dreaming’ (23:6). But a similar enthusiasm was registered by Michael Jameson, reviewing her Tovey and Kodály in the same issue: ‘I’ve found her playing utterly mesmerizing in its impact, insight, and thrilling virtuosity.’...Jerry Dubins called the playing on her recent Brahms recording with Moyer ‘nothing short of rapturous’ (27:2)...I’m ready to add my voice to the chorus of praise for Green’s extremely secure and self-confident playing: flexible without turning slack, energetic without turning aggressive, fervent without turning frenzied, and virtuosic without turning boastful. She sings the Arensky miniatures with such conviction—with such a fine combination of lyricism and grit…unfailingly alert to the music’s changing emotional geography…The engineering is first-rate, too. Warmly welcomed.” FANFARE