Sonata in E Minor, Op 38 for cello and piano - Brahms

Sonata in F, Op. 99 for cello nod piano - Brahms

Brahms's fondness of deep, rich, sombre colours is given free rein in his Sonata in E minor. ~&e work is ponderous and threatens to drag to a halt through its weight, but when delivered with sufficient power It overcomes gravity and forges ahead with Irresistible energy.

Richard Marksoi (cello) and Jorge Federico Osorio (piano), admirably matched In intensity, played with an explosive force that never dissipated and continually renewed itself. After the long first movement, brimming over with emotion, and the sport, slightly more relaxed, second movement the fugal nature of the final movement is something of a surprise, and the Intellectual structure seems at odds with the emotional content.

The resulting turbulence offers a considerable challenge to the players, but their pace never faltered and the difficulties of the score were dispatched with seeming abandon.

The second work in last Sunday's recital was Brahms's second cello sonata. Less formidable than the first and full of memorable tunes, it shows the composer in a more genial aspect. The players were fully responsive to the instructions, and they were as fast as the music allowed, so the performance of th second sonata was a worthy follower to that of the first.