Alfano, F.: Cello Sonata / Concerto for Violin, Cello and Piano

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Concerto for Violin, Cello and Piano (more info)
Composed by: Franco Alfano
Sam Magill, cello
Scott Dunn, piano
Elmira Darvarova, violin
Recording date: 9, 10 June 2008


1.   I. Assai lento - 12:45
2.   II. Allegretto con grazia - 06:44
3.   III. Presto, appassionato - 12:04


Cello Sonata (more info)
Composed by: Franco Alfano
Sam Magill, cello
Scott Dunn, piano
Recording date: 9, 10 June 2008


4.   I. Con dolce malinconia - 13:38
5.   II. Allegretto fantastico - 08:28
6.   III. Presto - 06:14

Reviews

Alfano Chamber Music: Trio ( (Aug 28, 2009)
Reviewer:Ted Wilks
I liked the "concerto," which is really a piano trio. My reaction to the first movement was that it was very strongly influenced by the chamber music of Chausson and Faure'. I thought that the change to a very slow section near the end of the movement was an anomaly. The next two movements seemed to be more in the style of Ravel. I found the first movement to be the most interesting.
... I liked the "concerto," which is really a piano trio. My reaction to the first movement was that it was very strongly influenced by the chamber music of Chausson and Faure'. I thought that the change to a very slow section near the end of the movement was an anomaly. The next two movements seemed to be more in the style of Ravel. I found the first movement to be the most interesting.
Despite the information given in the sleeve-notes about how deeply personal a work the Cello Sonata is, I must confess that I didn't find it, particularly the first movement, very interesting; to me, the thematic material, especially in the last movement, simply isn't very ingratiating. Compared with cello sonatas by Shostakovich, Debussy, and Rachmaninov, this Sonata seemed not to offer very much, even though it contains several impassioned sections.
The balance of sound between the soloists is good and overall the execution is top-notch. On my stereo, the recording of the Trio is excellent; the recording of the Cello Sonata is a little bass-heavy. I don't like to pass judgment on the musical style of such a distinguished cellist as Samuel Magill, but I thought there might have been a little too much use of exaggerated glissando. Perhaps this comes from Mr. Magill's long experience in performances of operatic scores, where it lends poignance, but it seems out of place in the Cello Sonata. (read more)