- Lowest Price
- Highest Price
Sonatas For Violin And Piano'
Debussy / Brahms / Bartok: Sonatas For Violin And Piano200-Gram Vinyl Plated And Pressed At Quality Record Pressings
Mastered By Kevin Gray At Cohearent Audio
This is perhaps the most exquisitely natural recording ever made. All in all, this Wilson record is a triumph of the analog recording art. - International Audio Review
David Abel, violin. Julie Steinberg, piano. Perhaps the most transcendent of David Wilson's brilliant recordings, this remarkable album of solo violin accompanied by piano comes as close to putting the two performers in the listening room as any ever made, writes The Absolute Sound, of Sonatas for Violin & Piano.
Recorded on Wilson's Ultramaster Recorder, built by John Curl, and using a spaced pair of Schoeps microphones driving vacuum tube electronics, the recording has a close perspective that heightens transparency and engagement as well as wonderfully capturing the beautiful tonality of Abel's Guarnerius violin and Steinberg's Hamburg Steinway without exaggerating their size.
The duo performs these works as if they are one. - The Absolute Sound, July/August 2013
This title is not eligible for discount.1. Violin Sonata No. 1 in G Major, Op. 78_ I. Vivace ma non troppo play
2. Violin Sonata No. 1 in G Major, Op. 78_ II. Adagio play
3. Violin Sonata No. 1 in G Major, Op. 78_ III. Allegro molto moderato play
4. Violin Sonata in G Minor_ I. Allegro vivo play
5. Violin Sonata in G Minor_ II. Intermede_ Fantastique et leger play
6. Violin Sonata in G Minor_ III. Finale play
7. Roman nepi tancok (Romanian Folk Dances), BB 68 (arr. for violin and piano)$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Beethoven: Violin Sonata Op. 96 & Op. 25200-Gram Vinyl Plated And Pressed At Quality Record Pressings
Mastered By Kevin Gray At Cohearent Audio
Stereophile's Recording of the Month For February 1984
Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about. - Stereophile, February 1984
David Abel, violin, Julie Steinberg, piano. This composition occupies a special place among Beethoven's creations because it shows a unique quality: there is an Olympian elegance, a profound gentleness that pervades the entire work. Nowhere does Beethoven the earth shaker appear. Even the scherzo movement does not disturb this sustained thoughtfulness.
Violin and piano begin trading short thematic statements in quick exchange from the first notes of the first movement. Parallel arpeggios create a growing intensity. The middle section of the movement is characterized by abrupt modulations and an increased pace of exchanges. A striking procedure is the use of a seemingly interminable trill, nearly heartstopping in its intensity.
The second movement, Adagio expressivo, one of Beethoven's floating Adagios, is based on the compulsion of a slow intense bass movement. The serenity of this movement is not disturbed by elaborate decoration from both instruments. And this stillness is further emphasized by a fourteen measure repeating pedal point (nearly one fifth of the movement) which closes it. The Scherzo sustains the serious character of the entire work. The last movement begins not only with a quick alternation of themes between the violin and piano, but a soft and loud alternation, as well, which adds to the feeling of growing intensity. An interrupted rondo is the plan, but the interruptions are of a major kind: another sensuous adagio and a daring fugato lead to a presto outburst concluding the movement.
David Wilson had already recorded piano by the time he began working with world-class musicians Steinberg and Abel in the Mills College Concert Hall in Oakland, California, though it was the first time he recorded a violin. Experimenting with different microphone positions in an attempt to capture what he calls the delicious geometry of sound emanating from Abel's Guarneri and Steinberg's Hamburg Steinway D, he ended up hanging his Schoeps CMC-36 microphones from a ladder high above the instruments. Of the results, he says, I'd put the recording up against any chamber music recording. It has to be my favorite.
Reached at their home in Oakland, Steinberg and Abel, whose trio with percussionist William Winant has commissioned music from the likes of John Harbison, Lou Harrison, Paul Dresher, Somei Satoh, and Gordon Mumma (for starters), reminisced about their time with Wilson.
The session was free of the time pressure and tension that can really get in the way of the final outcome, says Abel. If we wanted to stop for a bite, or go outside to rest for a while, that was not a problem... Dave kept open to what was happening in the moment, as in a concert. He understood about not making a 'perfect' recording, and instead left the small imperfections... that make the final result sound human and real. One could not ask for better.
This title is not eligible for discount.1. Violin Sonata No.10 in G Major, Op. 96 - I. Allegro moderato play
2. Violin Sonata No.10 in G Major, Op. 96 - II. Adagio espressivo play
3. Violin Sonata No.10 in G Major, Op. 96 - III. Scherzo Allegro play
4. Violin Sonata No.10 in G Major, Op. 96 - IV. Poco allegretto play
5. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - I. Moderato malinconico play
6. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - II. Andante sostenuto e misterioso play
7. Violin Sonata No. 3 in A Minor, Op. 25, "Dans le caractere populaire roumain" - III. Allegro con brio, ma non troppo mosso$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Bach & SchumannTheir programme comprises Bach (Sonata for Violin and Piano No. 4 in C minor, BWV 1017, whose lilting opening movement became the sublime 'Erbarme dich' from St Matthew Passion), Brahms (Sonatensatz in C minor, Op. posth.) and Schumann (FantasiestÜcke, Op. 73 and the Violin Sonata No 1 in A minor, Op 105). "Working with Martha was a unique experience for me," Itzhak Perlman has said Her brilliance and the colours she uses when she plays are recognisable as soon as you hear them: it's her - nobody else sounds like that I am so excited that we were actually able to record together again." Martha Argerich is no less enthusiastic in her praise of her duo partner: "I feel so stimulated to play with Itzhak, it's really a feast - fantastic! It's a very special relationship, I am completely enchanted. it's like having a conversation You get inspired by what you hear at a particular moment. There is an interplay, a lot of things happen - it has spontaneity!"1. Violin Sonata No. 1 in A Minor, Op. 105: I. Mit leidenschaftlichem Ausdruck
2. Violin Sonata No. 1 in A Minor, Op. 105: II. Allegretto
3. Violin Sonata No. 1 in A Minor, Op. 105: III. Lebhaft
4. FantasiestÜcke, Op. 73: I. Zart und mit Ausdruck
5. FantasiestÜcke, Op. 73: II. Lebhaft, leicht
6. FantasiestÜcke, Op. 73: III. Rasch und mit Feuer
7. Sonatensatz in C Minor, Op. posth. FAE Sonata: Scherzo
8. Violin Sonata No. 4 in C Minor, BWV 1017: I. Siciliano. Largo
9. Violin Sonata No. 4 in C Minor, BWV 1017: II. Allegro
10. Violin Sonata No. 4 in C Minor, BWV 1017: III. Adagio
11. Violin Sonata No. 4 in C Minor, BWV 1017: IV. Allegro$22.99Vinyl LP - Sealed Buy Now
Brahms: Violin Sonatas No. 1 & No. 3 (Out Of Stock)
Features Gioconda De Vito On Violin And Edwin Fischer On Piano
Gioconda De Vito was an Italian violinist born on July 22, 1907. She began formal violin lessons with an uncle, who was a professional violinist, at the age of 8. Three years later, she entered the Pesaro Conservatory. She graduated two years after that and started her career as a soloist. By age 17, she was teaching at the Conservatory in Bari. At age 25, she won an international violin competition in Vienna. She was then hired (supposedly through the influence of Mussolini) to teach at the Academy of Santa Cecilia in Rome. Since the Second World War interrupted her solo career, her London debut, which was very successful, didn't happen until 1948. She subsequently performed frequently in the major European venues, sometimes appearing with other important artists, including Yehudi Menuhin, Isaac Stern, Rafael Kubelik, and Furtwangler. She also twice played for the Pope (Pius XII). De Vito was one of several famous female violinists of the early Twentieth Century who were quickly forgotten by the general public - Ginette Neveu and Janine Andrade were two others. In 1961, she retired from playing and virtually from the violin itself. She was then only 54 years old. Although she toured Europe and other countries (Australia, Russia, India, Israel), she never played in the U.S. A highly admired player, she was nevertheless, almost an anachronism during her career. Her repertoire was old fashioned and did not include the concertos of Stravinsky, Prokofiev, Sibelius, Elgar, Bartok, Barber, Shostakovich, Khachaturian, Korngold, Glazunov, Berg, Walton, or Szymanowski. It is said that she was such a meticulous player, that she worked on the Brahms concerto for fifteen years before she played it in public.
- Prone To ViolinsJohannes Brahms (1833 - 1897): Violin Sonata No. 1 in G, Op. 78
1. Vivace ma non troppo
3. Allegro molto moderato
Johannes Brahms (1833 - 1897): Violin Sonata No. 3 in d minor, Op. 108
6. Un poco presto e con sentimento
7. Presto agitato$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Temporarily out of stock