Rubinstein: Cello Sonatas Matilda Colliard & Stefano Ligoratti

• Anton Rubinstein (1829 - 1894): Cello Sonata No. 1 in D Major, Op. 18 (1852):
• 1 Rubinstein: Cello Sonata No. 1 in D Major, Op. 18 (1852): I. Allegro Moderato 11:13
• 2 Rubinstein: Cello Sonata No. 1 in D Major, Op. 18 (1852): II. Moderato Assai 07:37
• 3 Rubinstein: Cello Sonata No. 1 in D Major, Op. 18 (1852): III. Moderato 10:12
• Cello Sonata No. 2 in G Major, Op. 39 (1857):
• 4 Rubinstein: Cello Sonata No. 2 in G Major, Op. 39 (1857): I. Allegro Moderato 11:43
• 5 Rubinstein: Cello Sonata No. 2 in G Major, Op. 39 (1857): II. Allegretto 08:05
• 6 Rubinstein: Cello Sonata No. 2 in G Major, Op. 39 (1857): III. Andante 08:40
• 7 Rubinstein: Cello Sonata No. 2 in G Major, Op. 39 (1857): IV. Moderato 11:51
• Total Runtime 01:09:21

Info for Rubinstein: Cello Sonatas

Anton Rubinstein (1829–1894) was a towering figure in 19th-century music: a virtuoso pianist, conductor, composer, and educator whose influence extended well beyond his own works. Born in Russia, Rubinstein gained international fame as a pianist of almost legendary ability, rivaled only by Franz Liszt. He was also instrumental in establishing a Russian school of music, founding the St. Petersburg Conservatory in 1862, where he trained a new generation of composers and performers. As a composer, Rubinstein was remarkably prolific, writing symphonies, operas, chamber music, and countless works for piano. While his style is rooted in the German Romantic tradition, particularly Mendelssohn and Schumann, Rubinstein’s music often reflects his own expansive temperament, with a combination of lyrical expressiveness and dramatic power.

Among his chamber works, the two cello sonatas hold a special place. The Cello Sonata No.1 in D major, Op.18 (1852) reflects the youthful Rubinstein’s energy and lyricism. Written in three movements, it showcases both the cello’s singing qualities and the pianist’s virtuosity. The writing is full of warmth, charm, and soaring Romantic melodies, though some critics have noted its more traditional, German-influenced character. Still, it demonstrates Rubinstein’s gift for crafting heartfelt, expressive music that gave performers a chance to shine.

More ambitious is the Cello Sonata No.2 in G minor, Op.39 (1857), composed only five years later but revealing greater maturity and depth. Structured in four movements, it has a broader scope and darker, more dramatic character. The interplay between cello and piano is more intricate, with the instruments treated as equal partners. Its passionate themes, stormy climaxes, and lyrical slow movement make it a more compelling work, often considered Rubinstein’s finest chamber composition.

Though not as frequently performed today as works by Brahms or Chopin, Rubinstein’s cello sonatas remain valuable contributions to the Romantic repertoire, offering a glimpse into the artistry of a composer who bridged Russian and European traditions.

Played with passion and tenderness by Matilda Colliard (cello) and Stefano Ligoratti (piano).

Matilda Colliard, cello
Stefano Ligoratti, piano

Matilda Colliard
began studying the cello at the age of 4, graduating with top honors from the Guido Cantelli Conservatory in Novara. In July 2024, she earned her advanced diploma (Level II) in viola da gamba with the highest distinction at the Giuseppe Verdi Conservatory in Milan.

She has won numerous international competitions, including the International Music Competition “Grand Prize Virtuoso,” which gave her the opportunity to perform during the award ceremony in the prestigious Royal Albert Hall (Elgar Room) in London.

Passionate about early music, she has specialized in the repertoire through the study of the viola da gamba and Baroque cello, refining her skills under renowned masters Paolo Pandolfo, Vittorio Ghielmi, Christophe Coin, and Lucile Boulanger.

The Italian cellist has gained international recognition through several important recordings. In 2018, she recorded the complete trios of A. Arensky with the Carducci Trio for Brilliant Classics, and in 2019 she recorded Beethoven’s complete works for cello and piano for Da Vinci Classics. In 2021, she recorded the six Suites by J.S. Bach, becoming the first Italian woman to record the complete set of this fundamental work of the cello repertoire. In 2023, she recorded Brahms’ sonatas for cello and piano, again for Da Vinci Classics.

Matilda Colliard is regularly invited to perform at major Italian festivals and concert institutions. She performs throughout Europe (France, Switzerland, Spain, Germany, and England) and Asia, including a tour of China (Beijing, Tianjin, Yangzhou, Chengdu, and Harbin).

She is also the president and founder of “Talestri,” an international feminist association aimed at combating gender-based violence in the world of classical music. Currently, she teaches cello at the Conservatory of Aosta.

Stefano Ligoratti
is a versatile artist who regularly performs as a solo pianist, chamber musician, and conductor. He has recorded albums for several record labels, including Brilliant Classics, Da Vinci Classics, Limen, and Sconfinarte.

Among his most notable recordings are the complete cycle of Beethoven’s sonatas for violin and piano with Yulia Berinskaya, as well as the sonatas and variations for cello and piano with Matilda Colliard.

He is also very active as a music producer, a role that has led him to collaborate with orchestras such as Milano Classica, I Pomeriggi Musicali, and the Sinfonica di Milano, under the baton of distinguished conductors including Claus Peter Flor, Andrey Boreyko, Michael Sanderling, Stanislav Kochanovsky, Krzysztof Urbanski, Jader Bignamini, Ruben Jais, Pietro Mianiti, Alessandro Cadario, and Giuseppe Grazioli.

Since January 2024, he has been Professor of Score Reading at the “G. Verdi” Conservatory in Turin.

Booklet for Rubinstein: Cello Sonatas