Johannes Brahms:
Sonatas for Violin and Piano
Sonata for Violin and Piano no.1, G-major, op.78
Sonata for Violin and Piano no.2, A-major, op.100
Sonata for Violin and Piano no.3, D-minor, op.108
Viktoria Mullova,
violin
Piotr Anderszewski,
piano
1997. Philips Classics
446 709-2
If the term "warm romanticism"
or "warm lyricism" as the CD-booklet suggests, should be put to good use,
a first description of these wonderful works would be the place in which
to do so. Brahms was notorious in his inhuman demands on the musical production
of his own. The Symphonies, coming so late in his production is one example
of his standards of quality; the monumental shadow of Beethoven still lingering
in the musical landscape. The violinsonatas is another example of the composer's
selfimposed sensorship. As the opus numbers clearly show, they are all
products of a mature artist. After several earlier and discarded attempts
in the genre, these three works fortunately survived the composer's fear
of failure. The sonatas was concieved and published in the period from
1878 (no.1), through 1886 (no.2) to 1888 (no.3).
The
recording of Russian violinist Viktoria Mullova and Polish pianist Piotr
Anderszewski, renders the warmth and the wonderfully deep sonorous lines
to perfection. Mullova is certainly no stranger to the music of the composer,
with a highly acclaimed recording of his violinconcerto. And even in this
condensed lyrical music, so different from the grandiose and majestic concerto
she excells with her fantastic deep sonorous tone, and attention to the
most minute of details. I absolutely love her phrasing which is delicate
and raw at the same time.
But
I think it is the pianist who makes this recording stand out in a not uncompetitive
crowd. Anderszewski is following the violin with the most careful attention.
His insightful shifts in mood, his boldness in bringing the pianos voice
up to the violin and the sheer sound of his touch is remarkable. One is
tempted to believe that the two soloists have always played together, because
they pull desicively in the same direction, and never loses track of oneanother.
The alternatives to this
disc, are as I mentioned quite a few, and I hear that Perlman and Ashkenazy's
is a very good one. So is Anne-Sophie Mutter's (with Alexis Weissenberg)now
on budgetprice (EMI Red-Line). But in any case: If you don't have this
recording, there is a little gap in your collection just waiting to be
filled.
© 1998 Arne.Mork@hum.uit.no
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