HMC902219 佛斯特/梅尼可夫/布拉姆斯:第2,3号钢琴奏鸣曲 Brahms/Sonates Violin Sonatas No. 2&3 (Faust, Melnikov)(harmonia mundi)
Faust, Isabelle (violin) 伊莎贝拉．佛斯特 (小提琴) Melnikov, Alexander (piano) 亚历山大．梅尼可夫 (钢琴) van der Zwart, Teunis (horn) 突尼斯．樊德史瓦特 (法国号)
音乐厂牌： Harmonia Mundi
A 19th-century 'trio sonata'. Isabelle Faust and Alexander Melnikov have already given us an acclaimed version Brahms's First Violin Sonata, in 2007. They now complete the cycle with the other two sonatas of 1886 and 1888, and add a fascinating rarity dating from 35 years earlier: the 'F-A-E' Sonata, a collaborative effort by three composers in honour of the great violinist Joachim, who had to guess who had written which movement! He did so with ease, for the Scherzo is as eminently Brahmsian as the Intermezzo and Finale are Schumannesque.
Release Date August 28, 2015
Styles Chamber Music
Recording DateSeptember, 2014
AllMusic Review by James Manheim
There are plenty of recordings of Brahms' second and third violin sonatas, cornerstones of the violin chamber repertoire that demand much from the players in terms of keeping melody and motivic intricacy balanced. This one, from the violin-and-piano duo of Isabelle Faust and Alexander Melnikov, has several features that make it stand out. One is the presence of a third sonata that's rarely recorded (along with three Romances by Robert Schumann that are not exactly common items themselves). This is the so-called F-A-E Sonata, a collaborative work by the young Brahms (who wrote the Scherzo), Schumann (who wrote the slow movement and the exuberant finale), and Schumann's student Albert Dietrich. The work's dedicatee was Joseph Joachim, who had adopted the motto "Frei aber einsam" (free but lonesome) that gave the work its name. Joachim was challenged to identify the composer of each movement and did so without difficulty; you may well do the same, but the work, unified by the F-A-E pitches used in the thematic material, is more than the gimmick it might seem. The otherwise unknown Dietrich was pushed to what are probably his greatest heights by his two talented co-composers, and the opening sonata-form movement at least inhabits the same world as Schumann and Brahms. The other novelty here is Melnikov's period piano, an 1875 Bösendorfer that strips away a good deal of the warm Steinway haze the sonatas have in most performances and leaves in its place a rather spare performance that even in the songful Violin Sonata No. 2, Op. 100, shifts the listener's attention to the motivic structure, perhaps in recognition of the fact that Brahms designated the Violin Sonata No. 2 a sonata "for piano and violin." The performance has the clarity that characterizes Melnikov's solo recordings of Romantic repertory, even if the case for period instruments is a good deal less clear here than it is in earlier music. At the very least, however, this is an intriguing Brahms recording, and the Teldex Studio sound is superb.
erformer: Isabelle Faust, Alexander Melnikov
Composer: Johannes Brahms
Audio CD (October 9, 2015)
Number of Discs: 1
Label: HARMONIA MUNDI
Average Customer Review: 5.0 out of 5 stars
5.0 out of 5 starsThis is another thoughtfully perceptive disc to add to the consistently impressive Faust discography.
By I. Giles TOP 500 REVIEWER on October 13, 2015
Format: Audio CD
This disc, recorded in 2014, completes the whole set of the three Brahms violin sonatas played by Faust and Melnikov. The first sonata, previously issued, is coupled with the Brahms trio and his Op 116 Fantasias for piano. This inevitably makes for difficulties for collectors as the main alternatives for the violin sonatas couple all three on one disc.
This disc also comes with unusual couplings which are the Schumann Three Romances which were published for either violin and piano or oboe and piano. These are very attractive pieces of vintage Schumann inspiration in a particularly gentle and song-like mode. The song-like nature of the music particularly suits the oboe, a wind instrument which phrases like a singer. There is a famous and superb version of these three pieces for oboe played by Holliger and Brendel as part of a Schumann disc of supreme quality. However, Faust and Melnikov make a strong case for the violin version with all the appropriate empathetic phrasing and tonal response.
At this point it is worthwhile to mention that the Faust disc features Melnikov's own Bosendorfer piano from 1875 and Faust’s Stradivarius violin which makes this disc qualify for ‘period’ status. The piano tone and dynamics are far more in line with modern pianos than might be expected and is far fuller than those used for period performances of music of an earlier date. No hint of woodenness’ or shallow tonal response for example and far greater dynamic range by this time. This disc will not cause concern for those interested in a modern instrument sound and who will be more likely to be mildly intrigued by the sound presented here.
Violin Sonata no.3 in D minor op.108 / re mineur / d-Moll
1 I. Allegro 8'07
2 II. Adagio 4'27
3 III. Un poco presto e con sentimento 2'54
4 IV. Presto agitato 5'39
Three Romances op.94
5 I. Nicht schnell 3'13
6 II. Einfach, innig 3'56
7 III. Nicht schnell 4'09
Violin Sonata no.2 in A major op.100 / La majeur / A-Dur
8 I. Allegro amabile 7'43
9 II. Andante tranquillo - Vivace 5'49
10 III. Allegretto grazioso (quasi Andante) 5'28
F.A.E. Sonata ["Frei aber einsam" - Joseph Joachim gewidmet]
11 I. Allegro 11'51
12 II. Intermezzo. Bewegt, doch nicht zu schnell 2'24
13 III. Allegro 4'43
14 IV. Finale. Markiertes, ziemlich lebhaftes Tempo 7'19