Beethoven: The Sonatas for Piano and Cello album review – Watkins and Bax have a shared impulse to deliver eloquence

Paul Watkins/Alessio Bax
Signum Classics
Cellist Watkins’ career-long immersion in the composer pays dividends in his pairing with Alessio Bax’s unfussy virtuosity

As cellist of the Nash Ensemble and the Emerson Quartet, Paul Watkins has immersed himself in almost all the chamber music Beethoven wrote. Now he brings those years of experience to his first recording of the cello sonatas. He approached the pianist Alessio Bax for this project after hearing him play the Moonlight Sonata, and his instinct was good: their playing here seems to come from a shared impulse, unflaggingly eloquent without ever seeming to strive for effect.

Together these five sonatas span Beethoven’s composing life. The earliest two date from around the time of his first piano concertos, and they find Beethoven breaking new ground in the way he writes for cello and keyboard as equal duet partners. Both sonatas have slow, serious introductions leading into extended movements showcasing the virtuosity of the pianist, to which Bax rises with a light, crisp touch. The expansive third, Op 69, which Beethoven worked on alongside the Fifth Symphony, centres on a perky middle movement akin to a symphonic scherzo; it’s nicely weighted here, the momentum continuing through all the changes in texture. The final pair of sonatas harness Watkins’s full powers of expression, in particular No 5, the only one of all these to have a full-blown slow movement. It begins in reticent, almost hymn-like style and blooms into something deeply felt; Watkins and Bax handle its closing passages with tightly controlled restraint, then gently clear the air with the introduction to the wrangly little fugue of the finale. It’s all beautifully done.