Beethoven's role in the history of cello music is outstanding. He was the first of Viennese classics to unveil the instrument’s timbre richness as well as its deep cantabile, so it’s not coincidentally that some slow parts of most of Beethoven’s sonatas derive from that distinctive “cello” timbre.

The evolution of Beethoven’s style, as well as its “constancy”, are fully reflected by the five Sonatas for cello and piano, written over the span of many years. The equality of the two instruments in audible even in early cello works of Beethoven, those Sonatas op.5, written in 1796, after he had moved from Bonn to Vienna. In these Sonatas cello is in dialogue with piano, rather than an “obligatory” accompaniment. Completed in 1808, the Sonata op. 69 shows highest craftmansship of Beethoven the author of the Firth and the Sixth symphonies, as well as “Fidelio” and the four piano concerts. Two sonatas op.102 (1815) have some features of the “late” Beethoven, and in this sense they are closer to the novelty of his sonatas and quartets of 1820’s.

All Sonatas will be performed by a brilliant duo of Russian cellist Alexander Zagorinsky and Norwegian pianist Einar Steen-Nøkleberg. “In Russia nobody seems to play the cello like him”, composer Edison Denisov once said about Zagorinsky, Honored Artist of Russia and a professor in Gnessin’s academy, who performs vast range of styles, from Bach to Telemann, from baroque to contemporary music.

His duo partner, Einar Steen-Nøkleberg is the president of The International Edvard Grieg Society in Oslo, the chairman of International Grieg’s competition. The pianist’s career spans more than four decades now; most prestigious world venues and festivals welcome his concerts and clinics.

First met in 2002 during a concert, Zagorinsky and Steen-Nøkleberg, despite being musicians of different traditions and generations, made up an ideal duo. They have been performing to great public and critical acclaim ever since, and released to albums via “Melodiya” label.