- Sonata for Cello & Piano No. 1 in E minor, Op. 38
- Silent Woods (Klid), for piano, 4 hands (From the Bohemian Forest), B. 133/5 (Op. 68/5)
- Rondo for cello & orchestra in G minor, B. 181 (Op. 94)
- Ballade for cello & piano in D minor, Op. 3/1
- Serenade for cello & piano in A major, Op. 3/2
- Sonata for Cello & Piano No. 2 in F major, Op. 99
No matter how many recordings of Brahms' cello sonatas you have -- indeed, the more recordings you have, the better -- this recording by Steven Isserlis and Stephen Hough deserves to be heard. Certainly, there have been great recordings of the works in the past -- the expressive Piatgorsky, the elegant Fournier, the burly Rostropovich, the list goes on and on -- but, equally certainly, Isserlis and Hough belong in that exalted company. Separately, Isserlis and Hough are formidable. Isserlis, a strong and soulful player with a rich lower register and a singing upper register, and Hough, a powerful virtuoso with a poetic sensibility, plus that rarest thing in a virtuoso: an accompanist's sensitivity to the subtleties of partnership. Together, they are as fine a pair of soloists as has ever recorded the works and the ensemble is seemingly telepathic. Isserlis and Hough's "E minor Sonata" is youthful yet still tragic, a precursor of the "Fourth Symphony," while the "F major Sonata" is mature yet still heroic, a follow-up to the "Third Symphony." On top of the Brahms' sonatas, Isserlis and Hough also include an early and late work by Dvorák, his peaceful "Waldesruhe" and his graceful "Rondo in G minor," and two early works by Suk, Dvorák's son-in-law, his extremely passionate "Ballade in D minor" and his sensually seductive "Serenade in A major." Whether you've heard one or a dozen recordings of the Brahms' sonatas, these recordings deserve to be heard. Hyperion's sound is rich and full and deep and warm and so real you can just about taste it.