Mozart - Violin Sonatas Nos. 12, 16, 17, 23, 32, 36 2017

Mozart - Violin Sonatas Nos. 12, 16, 17, 23, 32, 36

Жанр: Classical chamber
Страна-производитель диска: Made in England
Год издания диска: 2017
Издатель (лейбл): Hyperion
Номер по каталогу: CDA68143
Дата записи: 2016
Аудиокодек: FLAC
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 48'26 + 55'56 / 01:44:31
Источник: релизер
-источник/ник/другое: Bodtje, подарок; Caterina Sforza - работа с cue, доп. сканы
: да

Треклист

CD1

Violin Sonata in B flat major K454

01. 1: Largo - Allegro (9:05)

02. 2: Andante (6:30)

03. 3: Allegretto (6:51)
Violin Sonata in G major K27

04. 1: Andante poco adagio (3:35)

05. 2: Allegro (4:22)
Violin Sonata in C major K296

06. 1: Allegro vivace (8:14)

07. 2: Andante sostenuto (5:32)

08. 3: Rondeau: Allegro (4:18)

CD2

Violin Sonata in B flat major K454

01. 1: Largo - Allegro (9:05)

02. 2: Andante (6:30)

03. 3: Allegretto (6:51)
Violin Sonata in G major K27

04. 1: Andante poco adagio (3:35)

05. 2: Allegro (4:22)
Violin Sonata in C major K296

06. 1: Allegro vivace (8:14)

07. 2: Andante sostenuto (5:32)

08. 3: Rondeau: Allegro (4:18)

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Исполнители

Wolfgang Amadeus Mozart (1756-1791)
Sonatas for keyboard and violin (Volume 3)CD1
Sonata in B flat major K454
Sonata in G major K27
Sonata in C major K296
CD2
Sonata in F major K547
Sonata in B flat major K31
Sonata in D major K306
Alina Ibragimova (violin)
Cédric Tiberghien (piano)
Recording Date: May 26, 2015 - May 28, 2015
Recording Location: Concert Hall, Wyastone Estate, Monmouth
Release Date: March 31, 2017

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Review

AllMusic Review by James Manheim [-]
This double-CD group of Mozart violin-and-piano sonatas can stand on its own, and the title merely reads Mozart Violin Sonatas. It is, however, the third installment in a consistently fine Mozart cycle from pianist Cédric Tiberghien and violinist Alina Ibragimova. Deeper in the graphics the sonatas are denoted as being 'for keyboard and violin,' and indeed it is the keyboard that plays the dominant role even as the ways in which Mozart shakes up this configuration is part of the interest. The balance shifts from time to time, and the two players are so alert to the shifts that it seems as though you're following Mozart's own thinking. The corpus of Mozart works for this combination includes a good deal of juvenilia, and Tiberghien and Ibragimova hit on a strong programming idea: the youthful works are placed between the mature pieces on each disc, serving as intermezzi. They're more interesting than most of the other productions of the child Mozart, with unmistakable hints of the characteristic melancholy. The sensitivity of the players in the works of the adult Mozart is the mark of true Mozartians. Sample the finale of the Violin Sonata in D major, K. 306, with its unusual tempo shifts and piano cadenza, for a taste of how these players bring out the best in the music. The sprightly Parisian Violin Sonata in C major, K. 296, a real counterpart to the Concerto for flute, harp, and orchestra in C major, K. 299, also shows the players' sympathy for Mozart. Hyperion contributes ideal chamber-sized sound from the Wyastone Estate Concert Hall; the players use modern instruments, but the sound is flattened down so that Tiberghien's piano sounds almost like a fortepiano. The end result is a Mozart violin album that will be a strong attraction not only for those following the Tiberghien/Ibragimova series, but for anyone in search of a deeply enjoyable Mozart sonata album.