Robert Kahn's cello sonata in D minor Op.56

[eschiss1]

I note that Igor Zubkovsky and Anna Ouspenskaya (cello and piano) have (more or less just) uploaded a recording to IMSLP of Robert Kahn's cello and piano sonata in D minor (published 1911 by Bote & Bock).  It's uploaded in MP4 format (iTunes more or less shook its head and shrugged so I used Switch.app to convert the files - one for each of the three movements - to mp3s. Haven't listened yet though I do expect I'll enjoy it; his piano quartets 1 and 3 have been heard here, and some other works of his have been commercially recorded, as I recall.) The link is

http://imslp.org/wiki/Cello_Sonata,_Op.56_%28Kahn,_Robert%29

(I hope of course that this announcement is appropriate. I have no connection of any sort with the performers and am not, I think, even acquainted with them- just saw this and thought- "neat!" and decided, as I tend to, to pass it on.

As Kahn died in 1951, the music is in copyright in the EU until 2022 or so (the 70-year rule- really a 70-plus-1-year) so one does run into a warning from IMSLP (which I at least can ignore in this case since the music is public domain where I am, but still...)

[Mark Thomas]

Thanks for this, Eric. They're video files of a live performance, of course, but it's easy enough, as Eric says, to convert them to straight audio.  I have only heard the first movement so far, but it's very much what you'd expect from Kahn: autumnally mellow late romanticism, very much indebted to Brahms (not of which should be taken as criticism). Lovely.

[eschiss1]

(Hrm, but what aspect of late Brahms- his moods, and/or his rhythmic innovations (hemiolas, constant 3s-against-2s, &c)? That's what I often wonder when I hear "Brahmsian", &c. But the whole subject of "influence" itself deserves a whole slew of separate and considered "topics" ...) Anyhow, thank you, I shall make some haste to listen (relatively speaking. Sometimes the downloads I accumulate from this site and others can wait a bit long before I get to them- unfortunately, as I enjoy them when I do.)

I notice now that there is a book about Robert (August) Kahn's father Otto that mentions him, or something (rather than the other way about ). I am curious why so... are we dealing again (as with the Goldmarks- only a few were musicians but many made their marks in some field...) with a distinguished family perhaps? ... Interesting...

[Mark Thomas]

You are quite right to pick me up on lazily describing Kahn's music as "Brahmsian"! In this instance, I meant it quite generally: the casual listener could well think "this reminds me of Brahms".

[eschiss1]

after listening to the first movement, I do think I hear enough cross-rhythms quietly there, etc. (etc. ...) to credit that it may well really deserve the description more than some other music given the adjective. Neat. Will hear the rest later... Sorry to give you a hard time (it was more a general statement anyway, really!), and thanks!!

[eschiss1]

I see an earlier cello sonata (op.37) has been recorded- I should check or recheck his worklist. More and more interesting, this.

[fahl5]

Here you can hear my version of all works for Cello & Piano by Robert Kahn:

a) 1. Sonata op.37
b) 2. Sonata op.56
c) 3 Pieces op.25

It is perhaps interesting to compare those recordings with the two existing recordings (of one you can find some excerpts of op25 & 37 here the other of op56 is mentioned above.)

You will see that I chose often more lively tempos thinking about amore classicistic approach of Kahn to romantic music and his mostly very brilliant musicians with whom Kahn premiered his Works.

However I hope you like the great music by Kahn
best
fahl5

[eschiss1]

I look forward to listening; the Op.56 as recorded in that other recording anyway is a _really_ impressive piece in my opinion (didn't mean to suggest anything different with any of my digressions )

[fahl5]

Oh, I just thought it would perhaps not be a less marvelous piece if I try to record the first movement more "Allegro appassionato"than Moderato , the second more "Andante" than Adagio and the last not only energico but also "Allegro energico".
At least from what I know I have had the impression that Kahn tends to more lively tempi without exaggerating anything.

Finally it just seems to me always - at least in parts - a personal matter and decision of interpretation.
Isn't that what it is all about, when you play classical and romantic music?

As I mentioned before I recorded those pieces to complete the collection of compositions for Soloist and Piano by Kahn  on my site.
(The next step on the way to record the complete chambermusic of Kahn will be to record all seven Trios (perhaps eight with the "Jungbrunnen"pianotrio-songs) of Kahn  later the five quartetts, the two quintetts and a few works fo larger ensembles. As you already know there are for some of those works already inspiring recordings available, but I am sure I will need some time if not years to do all that)

[eschiss1]

I wasn't being critical and hadn't heard your rendition yet anycase...