Brahms: Complete Works For Violin & Piano - Arabella Steinbacher, Robert Kulek (2012)
Brahms: Complete Works For Violin & Piano - Arabella Steinbacher, Robert Kulek (2012)
X Lossless Decoder | Flac (Tracks + cue + log) | 1 CD | Full Scans | 327 MB
Genre: Classical | Label: Pentatone | Catalog Number: 5186367
X Lossless Decoder | Flac (Tracks + cue + log) | 1 CD | Full Scans | 327 MB
Genre: Classical | Label: Pentatone | Catalog Number: 5186367
Playing the 1716 Booth Stradivari, violinist Arabella Steinbacher plays Johannes Brahms’s three Violin Sonatas, as well as the Scherzo he contributed to the FAE Sonata, with a prepossessing tonal command, captured and reproduced by PentaTone’s engineers, who have balanced both performers close up yet communicating a sense of the venue’s spaciousness (the recording took place in September 2000, at the Concertboerderij Valthermond). In the Vivace ma non troppo of Brahms’s First Violin Sonata, Steinbacher mixes strength and tenderness, exhibiting a wide dynamic range that the recorded sound has transmitted to the listeners. Robert Kulek’s introduction and accompanying figures at the second movement’s opening also reverberate warmly in the ambiance underneath Steinbacher’s sound, especially thick and honeyed in these passages (even at times recalling Mischa Elman’s fabled tone). Demonstrating their (and PentaTone’s) dynamic range and control, the two performers nearly disappear in the quietest passages at the center of that movement—and again near the movement’s end. They’re relaxed at the finale’s opening, and progress to a gentle conclusion, with Steinbacher employing a range of conservative but well-judged techniques in both left and right hands to enhance the expressive effect.
Composer: Johannes Brahms
Performer: Arabella Steinbacher, Robert Kulek
Reviews: In the Second Sonata’s first movement, the duo adopts the same leisurely pace and displays the same combination of strength and sensitivity. In the second, they set out more tentatively in the opening section; they don’t rush the contrasting Vivace section, in which Steinbacher seems almost to be playing at the beginning sul ponticello , so nasal does her tone become—yet it never sounds so forced as do Anne-Sophie Mutter’s tonal experimentation in Ludwig van Beethoven’s Sonatas (I’ve also seen Mutter begin Jean Sibelius’s Concerto with no vibrato at all—and none too attractive an underlying tone—in a televised performance). But Steinbacher waxes eloquent and glows by the section’s end. The rich tone from the First Sonata returns in Steinbacher’s reading of the last movement, but her sensitive interchanges with Kulek during the theme’s statement make it clear that she doesn’t rely on tone production alone to deliver her musical message.
In their fiery opening of the Third Sonata, Steinbacher and Kulek reveal an intensity that many may have missed in the first two works—not only in the movement’s frequent outbursts but in their generally heated expressivity throughout the Sonata. Their reading of the Adagio maintains the same warmth—or heat. In the brief third movement, they sound playful enough, but perhaps emphasize the “poco” in the “poco presto” part of the movement’s designation and the “con sentiment” in preference to the movement’s scherzando elements, though they’re forceful enough at the beginning. They build the finale into an almost symphonic statement. The program concludes with the Scherzo from the FAE Sonata, which makes a strong impact in the duo’s vigorous, strong-minded, but hardly unnuanced, performance (I remember watching Viktoria Mullova convert this piece into a sheer burst of somewhat undifferentiated energy).
Anne-Sophie Mutter has apparently taken Steinbacher under her wing, but Mutter’s own recording ( Fanfare 34:5), though well recorded, soaring, and authoritative in its own way, doesn’t make these Sonatas as ingratiating as does Steinbacher (and Mutter’s is far more mannered). For the unforced but forceful command and élan of Steinbacher’s performances and for the liveliness of the recorded sound, it would be niggardly to accord the program anything less than an urgent recommendation.
Tracklisting:
1. Scherzo for Violin and Piano in C minor, WoO 2 "FAE Sonata" by Johannes Brahms
Performer: Arabella Steinbacher (Violin), Robert Kulek (Piano)
Period: Romantic
Written: 1853; Germany
2. Sonata for Violin and Piano no 1 in G major, Op. 78 by Johannes Brahms
Performer: Arabella Steinbacher (Violin), Robert Kulek (Piano)
Period: Romantic
Written: 1878-1879; Austria
3. Sonata for Violin and Piano no 2 in A major, Op. 100 by Johannes Brahms
Performer: Arabella Steinbacher (Violin), Robert Kulek (Piano)
Period: Romantic
Written: 1886; Austria
4. Sonata for Violin and Piano no 3 in D minor, Op. 108 by Johannes Brahms
Performer: Arabella Steinbacher (Violin), Robert Kulek (Piano)
Period: Romantic
Written: 1886-1888; Austria
X Lossless Decoder version 20130127 (142.3)
XLD extraction logfile from 2013-03-07 15:59:07 +0800
Arabella Steinbacher, Robert Kulek / Brahms: Works for Violin & Piano
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XLD extraction logfile from 2013-03-07 15:59:07 +0800
Arabella Steinbacher, Robert Kulek / Brahms: Works for Violin & Piano
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Thanks to the original releaser