Fortissima

CD 1: (feat. Julian Riem, piano) Henriëtte Bosmans Cello Sonata in A Minor;
Victoria Yagling Larghetto Emilie Mayer Cello Sonata in A Major; Mélanie Bonis Méditation; Luise Adolpha Le Beau Cello Sonata in D Major, op. 17; Adele: All I ask;
CD 2 (feat. Deutsches Symphonie-Orchester Berlin, conductor: Anna Rakitina)
Marie Jaëll Cello Concerto in F Major; Maria Herz Cello Concerto Op. 10; Elisabeth Kuyper Ballad for Cello and Orchestra, op. 11; Rebecca Dale Femmage I - She Walks Through History; Femmage II - Meditation for Cello & Orchestra P!NK: Wild Hearts Can't Be Broken

Raphaela Gromes (cello) Julian Riem (piano) Deutsches Symphonie-Orchester Berlin/Anna Rakitina
SONY CLASSICAL G010005505549R

For devotees of the cello, this album offers not merely another recital disc but a genuine revelation, presenting a wealth of world premiere recordings by unjustly neglected women composers. These artists possessed not only formidable talents but remarkable life stories, and the release stands as an inspiring musical document celebrating tenacious women who pursued their dreams against considerable odds, refusing to be constrained by prescribed societal roles.

"Fortissima is about role models, for everyone, but especially for young women," states Raphaela Gromes. "The stories of these artists are about personal integrity, the longing for freedom, and irrepressible creativity. It's not just about outstanding music but deeply inspiring personalities."

One senses the vitality throughout this generously filled double album. The textures and emotions are sustained across both discs, whether in the intimate chamber works with pianist Julian Riem or the orchestral repertoire featured in the second half. There is much to savour here, and Riem's accompaniments are never obtrusive—his well-judged restraint perfectly complements the resonant sonorities of Gromes' cello. Riem's refined touch and gorgeous tone prove every bit as engaging as Gromes' playing.

Highlights abound, including Luise Adolpha Le Beau's Cello Sonata. Both Emilie Mayer (born 1812) and Le Beau (born 1850) were fortunate enough to gain recognition as composers during their lifetimes. Mayer's works received performances at the Konzerthaus Berlin, including for King Friedrich III, though she was compelled to finance both performances and publications herself—possible only through an inheritance from her father. The Sonata in A major for Piano and Cello is one of ten surviving cello sonatas. Luise Adolpha Le Beau enjoyed early support as a pianist from her parents and received tuition from Clara Schumann. She became the first woman to study composition under Josef Rheinberger in Munich, first attracting attention for her compositions in 1882 with her Five Pieces for Violoncello, Op. 24. The chemistry between this duo of cellist and pianist is palpable throughout, their musical partnership bringing the chamber works alive with a conviction that proves utterly captivating.

Though Marie Jaëll was hailed as a musical prodigy and toured across Europe as a child piano virtuoso, a career as a composer largely eluded her. She received private tuition from César Franck and Camille Saint-Saëns and, as personal secretary to Franz Liszt, edited and completed several of his works. Here we encounter her sumptuous Cello Concerto in F major, dedicated to her late husband. One senses Jaëll's profound loss as portrayed so beautifully by Gromes. The low, expressive textures of the orchestra and soloist at the opening of the Lento (recreated by Julian Riem from sketches) prove deeply affecting, and Gromes' sympathetic interpretation is genuinely moving. This is a work that deserves far wider currency in the concert hall.

The adaptation of Adele's All I Ask pays tribute to one of our era's greatest soul voices and songwriters—the lilting, lyrical quality is utterly captivating, while P!NK's Wild Hearts Can't Be Broken holds special personal significance for Raphaela Gromes. The lyric, "My freedom is burning, this broken world keeps turning, I'll never surrender, there's nothing but a victory. This is my rally cry" could equally serve as a motto for the women composers featured on the album.

The passion and affection for all these works are conveyed with such conviction that understanding the stories behind the compositions adds immeasurably to one's appreciation of the performances.

Many of these early female composers were initially instrumentalists—a description that particularly applies to Victoria Yagling, a true star cellist according to the booklet notes. Born in 1946 in the Soviet Union, she studied with Rostropovich and triumphed in major competitions. Censorship in the USSR hindered her creative work, and only in 1990 could she emigrate to Finland, where she became a highly respected professor. Her Larghetto offers five exquisite minutes of cello and piano, its flowing, lyrical contours tugging powerfully at the heartstrings.

A significant discovery.