Sonata for Piano and Cello in F major, Op. 5 No. 1
Sonata for Piano and Cello in G minor, Op. 5 No. 2
Sonata for Piano and Cello in A major, Op. 69
Sonata for Piano and Cello in C major, Op. 102 No. 1
Sonata for Piano and Cello in D major, Op. 102 No. 2
Twelve Variations in G major on "See the conqu'ring hero comes!" WoO 45 from Handel's Judas Maccabaeus
Twelve Variations in F major on "Ein Mädchen oder Weibchen" Op. 66 from Mozart's The Magic Flute
Seven Variations in E-flat major on "Bei Männern, welche Liebe fühlen" WoO 46 from Mozart's The Magic Flute

Most recordings of these works by Ludwig van Beethoven (1770-1827) label them as "Cello Sonatas" which in my opinion is somewhat of a misnomer, as it immediately stamps them with the preconceived notion that these are Sonatas for the Cello with piano accompaniment. That would prompt the audience to use the wrong set of ears when listening. But in Beethoven's case to be exact, these are definitely Sonatas for Piano and Cello. He himself had them published as Sonatas for Piano and Cello. After all, Beethoven was first and foremost a pianist. They are, in true Beethoven fashion, musical arguments full of emotional drama and technical innovation, perfectly laid out and worked out from start to finish.

There's a constant dialogue and interaction between the two instruments within these pages. A prime example of the equal alliance between the piano and cello can be heard at the very beginning of the Sonata for Piano and Cello in F major, Op. 5 No. 1 in which the two instruments begin their journey in perfect unison. Throughout this recording, the give and take between Robert DeMaine and Peter Takács is always exemplary, with ideal dynamic balance between the two. Mind you, in general the pianist has more to say, but mostly in the form of extra harmonic padding and support. And as I had indicated in a previous review of Haydn's Cello Concertos, DeMaine's varied tone is always at the music's service, and doesn't draw unwarranted attention to itself with affected mannerisms or ostentatious gestures.

This is unadulterated Beethoven; dynamically rhythmic and upbeat in the faster movements, and expressively profound within the slower Adagio movements. And given all the classical demeanour and Mozartian elegance they call for, the sets of Variations are a delight to listen to as well.