Cello Sonata No. 1 in F Major, Op. 5, No. 1
Cello Sonata No. 2 in G Minor, Op. 5, No. 2
Cello Sonata No. 3 in A Major, Op. 69
Cello Sonata No. 4 in C Major, Op. 102, No. 1
Cello Sonata No. 5 in D Major, Op. 102, No. 2

With the exception of Wellington's Victory and his Symphony No. 6, not much of Beethoven's music can be found guilty of being influenced by external stimulus or impetus. One could argue that his music is absolute; music in the interest of music. Nor did he write music to test or display a musician's technical prowess or artistry. A case in point are these sonatas which he had published as Sonatas for Piano and Cello, and not as pieces for cello with piano accompaniment. They were conceived as works in sonata form, to be performed by this particular combination of musical instruments. 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. Nothing more and nothing less.

It's obvious that Beethoven was a pianist as most of the musical narrative here defaults to that instrument, but there's a constant give and take between the cello and piano, with ideas bouncing back and forth and seamless interplay between the two. Although at times, especially in the slower Adagio movements, the cello assumes the leading role, like a singer with a piano accompanist. Cellist Ailbhe McDonagh and pianist John O'Conor coalesce perfectly, as if propelled by the music's undertow, and echo each other's expressive mien with dynamic balance, as if holding a cordial conversation. I've heard recordings of these sonatas in which the balance of power was off kilter, with one instrumentalist or the other gesticulating like a peacock, to disastrous effect.

Whilst Irish pianist John O'Conor, sometimes labeled as the "Poet of the Piano" and having many recordings under his belt, including the complete Piano Sonatas by Beethoven issued in the 1990s on the Telarc label (remember audiophile Telarc? - I would wager that almost everyone owns a copy of Telarc's 1812 Overture) brings years of experience and backbone to Beethoven's music, relative newcomer Irish cellist Ailbhe McDonagh brings spontaneity and fresh ears to the music, and both compliment each other's approach. As is the norm these days, two young musicians out to impress would play everything fast for the sake of velocity, and two veterans would make everything sound overly pedantic. But this ... this is music making that blends head and heart seamlessly.

Ailbhe McDonagh is an international soloist, chamber musician and composer who performs throughout Europe, Asia and the USA. A graduate of the Eastman School of Music and the Royal Irish Academy of Music. She performs on a Postacchini cello.