Composer: Ludwig van Beethoven
Performer: Viktoria Mullova, Kristian Bezuidenhout
Format: FLAC (tracks)
Label: Onyx
Catalogue: ONYX4050
Release: 2010
Size: 217 MB
Recovery: +3%
Scan: cover
Violin Sonata No. 3 in E flat major, Op. 12 No. 3
01. I. Allegro con spirito
02. II. Adagio con molta espressione
03. III. Rondo – Allegro molto
Violin Sonata No. 9 in A major, Op. 47 ‘Kreutzer’
04. I. Adagio sostenuto – Presto – Adagio
05. II. Andante con variazioni
06. III. Presto
Following hard on the heels of her critically acclaimed Bach Sonatas and Partitas (ONYX4040), this new CD of Beethoven’s 3rd and 9th violin sonatas sees Viktoria Mullova partner with fortepianist Kristian Bezuidenhout in performances that are both searching and exciting. This recording marks the 50th release from ONYX, and the 5th anniversary of the label.
Mullova’s plays on her 1750 Guadagnini with gut strings, and with a baroque bow by Walter Barbiero. Bezuidenhout plays a restored Viennese fortepiano dating from 1816.
Unlike the sonatas for cello and piano, to which Beethoven turned during all three of his commonly recognized style periods, the sonatas for violin and piano were confined to the earlier portion of his career. Nevertheless, Beethoven continued to advance the equality of the two instruments that Mozart had begun, giving an increasingly independent role to both instruments and increasing the virtuosity of the part-writing. This Onyx album features the early Op. 12/3 Sonata, as well as the perennially respected Op. 47 “Kreutzer” Sonata. Russian-born pianist Viktoria Mullova is joined by fortepianist Kristian Bezuidenhout for a period instrument performance that proves to be a step above the rest. Bezuidenhout writes a brief introduction to the instruments in the liner notes; instead of just giving mere technical specifications for each instrument, it paints a vivid picture of each instrument’s personality and individual quirks that truly gives listeners something to latch on to. Rather than shying away from their instruments’ shortcomings, as is sometimes the case in recordings such as these, Mullova and Bezuidenhout celebrate them. Combined with their individual energy and passion, complete technical mastery, deep understanding of the score, and unified vision of its performance, this results in a finished product that is completely satisfying and engaging from start to finish. Neither Mullova nor Bezuidenhout are shy about their accents, dynamic emphasis, driven tempos, and forceful playing, leaving listeners excitedly breathless by the end of the album. We can only hope that they will continue with a complete survey of the remaining eight sonatas.