The Divertimento for violin and piano by Stravinsky was written in 1932 as an arrangement of his ballet Le Baiser de la Fee. The sonata for violin and piano by Shostakovich was composed in 1968 on the occasion of Oistrakh’s 60th birthday. The two pieces could hardly be more disparate: Stravinsky’s work is a spirited homage to Tchaikovsky, whereas the Shostakovich is profound and mysterious. Both works, however, share a preference for an allegorical idiom and symbolism.

Classical Music

Classical Music

V2: DIALOGE FUR ZWEI VIOLINEN

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Acclaimed as ‘an uncommonly brilliant young violinist’ Tianwa Yang continues her highly praised survey of Pablo de Sarasate’s music for violin and orchestra. His Magic Flute Fantasy is a masterpiece of the genre à la Paganini, while the Gounod Fantasy (his second) is a miracle of lightness. The highly popular Navarra, the charming Muiñiera with its bagpipe effects, the bewitching Venetian Barcarolle and the Introduction et Caprice-Jota with its barcarolle-like beginning and dancing finale coming thrillingly to life on this album. “Tianwa Yang is a sensationally talented young violinist. She has technique to burn…Best of all, she has a beautiful tone in cantabile phrases and a really seductive way with rubato that conveys emotion without distorting the rhythm” (David Hurwitz/ClassicsToday.com on Volume 2, 8.572216).

Following the release of delightful piano music by Chopin’s pupils (8.572344), Naxos reveals more rarely-heard Romantic gems by these heirs of the ‘poet of the piano’. Each movement of Karol Mikuli’s Grand Duo is ingeniously based on two prevailing themes evoking Wagner, Schubert, Liszt and, of course, Chopin as it moves towards a triumphant conclusion. Thomas Tellefsen’s two violin sonatas reflect musical developments between the legacy of Beethoven and the advent of Grieg. Chopin’s favourite student, the short-lived prodigy Carl Filtsch, is represented by his charming Allegretto con variazioni.

The intelligence, sensitivity, and innate musicality distinguishing violinist James Ehnes' terrific unaccompanied Bach carries over to his first volume of the composer's sonatas with harpsichord. What immediately strikes you is the ideal balance between Ehnes and harpsichordist Luc Beauséjour--not just sonically speaking, but in how they effortlessly proportion their phrases and perfectly synchronize trills, turns, and other ornaments. Beauséjour's discreet and effective registrations complement the subtle variations in Ehnes' tone, especially in slower, sustained writing (the quicker-than-usual A major sonata's Andante is a good example). Also notice how Ehnes manages to project a full, rounded, and beautiful tone even when he employs vibrato sparingly. In other words, Ehnes achieves an organic synthesis of period-instrument practice with the virtues of modern violin technique, all to the music's expressive, dance-oriented good. Among numerous world-class Bach violin sonata recordings of disparate stylistic stripes, Ehnes and Beauséjour deserve room at the top. May their second volume prove equally nourishing. [2/14/2005] --Jed Distler, ClassicsToday.com

Classical Music

Classical Music

Classical Music