Listening examples:
Dvorak Cello Concerto
1st movement
2nd movement
3rd movement
“The joy and bounce he gives the music is irresistible, and he clearly imparts a strong identification with Bach’s love of life and dance rhythms.”
Don Satz - Music on the Web
"Well until I found this recording I was unsure which one was favourite. Probably Tortelier's, Navarra's or Fournier's. As you can read above, all the recordings of the cello suites have their high points & low points, and each one has one or more suites which I like more than the rest. However, this is the one and only recording that is perfect in every way. Every movement of every suite is absolutely ideal. Take it from someone who has 21 recordings of the cello suites. If I had to pick a recording that most similar to this one it would be Casals' except Markson's has more space to it. That's just about the only difference. My only problem with this album was the price; it was a bit much so I considered it a bit of a gamble when I ordered/bought it. Knowing what I know now though, it was well worth the price."
A reviewer from Amazon.com
"Authenticity in Bach - Richard Markson"
"One could hardly ask for tighter ensemble or more carefully thought-through interpretative stances for this marvellous music."
Fanfare Magazine (US) May/June 1999
"These poised and patrician performances were recorded at some distance from the players, giving us a wide dynamic range and emphasizing the mysterious elements of the music. The tempos tend to be on the leisurely side and all repeats are observed. There is a certain amount of humour as well. This is a good, if somewhat specialized view of these sonatas."
Moore Penguin Guide to Compact Discs 1999
"On ASV's bargain Quicksilva label, Richard Markson, pupil of both Paul Tortelier & Pierre Fournier, very well partnered by Osorio. Gives full-toned, direct readings of the five Beethoven cello sonatas. Allegros are fresh and lively. Warm and immediate made in Wigmore Hall London."
The Guide to Excellence in Recorded Classical Music
"As good a performance and recording of this magnificent music as you will ever hear. If you have them all, you need this one, too. If you don't have any, you can't do any better.
Comparison recordings:
* Janos Starker, cello; Abba Bogin, piano - Period (now EMI) LP
* Yo-Yo Ma, cello; Emmanuel Ax, piano - Sony SK 48191
* Pablo Casals, cello; Mieczyslaw Horszowski, piano - various collectors = issue
That is a pretty intimidating list of performers to go up against Markson and Osorio must have been mad to record these works. But, after listening, where do I think they belong in that list? Where do I think you 'll think they belong in that list? How about at the very top?
I remember my first experience with the E minor sonata; I knew nothing about chamber music and virtually nothing about Brahms, but bought the record used for 75 cents because I thought I might like it. At hearing the first notes I think I melted like butter, I couldn’t believe a cello could make such a beautiful sound; and my excitement didn 't let up until the last note. That was the Starker performance, and I must say Markson plays with that same dark liquid sound, the phrase floating above the piano even though the sound is octaves below it. They achieve a proper Viennese waltz lilt in the allegretto, although some might want a little more. And the final fugue is all Brahms could have hoped for. I never was so aware before that this is a three voice fugue, with the piano and the cello tossing the extra voice back and forth between them, and I 've never heard it done any better than here.
Markson and Osorio agree with the consensus that the published transcriptions for cello of the " Regenlied" violin sonata Op 78 are not really by Brahms, so they felt free to alter the published score for this performance to make it closer to the original. The result of their work is very successful; the tone of the cello seems to suit the melancholy of the music at least as well if not better than the violin, and the mass of the cello tone is better balanced against the dense piano part, so the pianist does not have to hold back his tone. Only at a couple of places in the last movement do I find myself wishing the solo part were in a higher register.
The Opus 99 is less passionate and sensual than the earlier work, with more sense of struggle, more conflict between the players. When the cello is in a higher register the pianist takes the opportunity to make more of the lower notes on the instrument to very good effect. From the very first the piano seems to be in control, and Mr. Osorio does an exceptional job here. Then the second movement starts out with the cello accompanying the piano! Then they take turns. But it is in the third movement where their astounding ability to find the right balance is most perfectly demonstrated. The balances in this movement can change within the phrase. Not for a second can this music be left to play itself, and they get it right every single time. This is breathtaking virtuosity! After that they deserve a nice rest, and the sunny final movement begins by reminding us of the final movement to the second piano concerto, except that this piano part is more difficult, no matter how easy Mr. Osorio makes it sound. Wouldn't you know it, a storm comes up threatening to ruin our sunny day, but all ends happily." Paul Shoemaker - Music on the Web