Brought together for the first time, this anthology of sonatas ranges from the last flickers of neo-Germanic Romanticism to the nationalism of the early 20th century. Written by three Hungarian composers that history brought into conflict politically by denying them their deep common roots, the juxtaposition of these scores shows that, to the contrary, they stem from the same tradition, respecting classical norms with great ease and overflowing with an energy and exuberance, joyous or nostalgic, that are specifically all’ungherese.

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Praga DaCamera PRD 350 033

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The germanic intelligentsia told he was "too much Russian"; Glinka's "small gang", in fact the famous Fives Group, demanding the return to basics of true Russian music, thought he was too much westernized.... Against those quite conflicting opinions Anton RUBINSTEIN had a great triple professional career : pianist (Liszt's fame only was greater as his own), composer (his lyric works are now rediscovered, such as Der Dämon, adapted from Lermontov and recently directed by Valery Gergiev) and teacher (he was both the pathfinder in symphonic art for composers from Borodin to Tchaikovsky and the fonder of the famous piano Russian School with Rachmaninov and Scriabin)...This new record gathers for the first time the whole of the works originally composed for piano and cello, written in his early days (1851-57) with Hummel and Mendelssohn as models.

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First juxtaposition of sonatas written by French organists at the end of 19th century whereas the Wagnerian chromaticism (Tristan ?) started to cause rejection or revival, acknowledged or concealed, by these old Masters in the finishing romantic era. The least reached is obviously Saint-Saëns with his heroic and purified classicism. Boëllmann, too forgotten, let clearly perceive his attraction. Franck adapted it to his imposing and passionate manner.

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