Bartók, Janácek, Debussy, Prokofiev, Stravinsky - Violin Sonatas



Viktoria Mullova: violin
Piotr Anderszewski: piano
Bruno Canino: piano


Lossless: Ape (img + cue + log) = 494 mb
Lossy: Mp3 (lame 'preset standard') = 175 mb
Artwork @ 300dpi = 22 mb


Total playing time: 126:25
Recorded 1987, 1989, 1994 | Released 2006

Recording:
June 1987, Utrecht (Bartók)
April 1989, London (Prokofiev No.2, Stravinsky)
July 1994, Forde Abbey, Chard, England (Janácek, Debussy, Prokofiev No.1)

Philips 475 7460

Track listing:
CD 1
1. Bartok Sonata for Solo Violin - I. Tempo di ciaccona
2. Bartok Sonata for Solo Violin - II. Fuga. Risoluto,non troppo vivo
3. Bartok Sonata for Solo Violin - III. Melodia. Adagio
4. Bartok Sonata for Solo Violin - IV. Presto agitato
5. Janacek Violin Sonata - I. Con moto
6. Janacek Violin Sonata - II. Ballada. Con moto
7. Janacek Violin Sonata - III. Allegretto
8. Janacek Violin Sonata - IV. Adagio
9. Debussy Violin Sonata - I. Allegro vivo
10. Debussy Violin Sonata - II. Intermede. Fantasque et leger
11. Debussy Violin Sonata - III. Finale. Tres anime

CD 2
1. Prokofiev Violin Sonata No.1 in F minor, Op.80 - I. Andante assai
2. Prokofiev Violin Sonata No.1 in F minor, Op.80 - II. Allegro brusco
3. Prokofiev Violin Sonata No.1 in F minor, Op.80 - III. Andante
4. Prokofiev Violin Sonata No.1 in F minor, Op.80 - IV. Allegrissimo
5. Prokofiev Violin Sonata No.2 in D major, Op.94a - I. Moderato
6. Prokofiev Violin Sonata No.2 in D major, Op.94a - II. Scherzo. Presto
7. Prokofiev Violin Sonata No.2 in D major, Op.94a - III. Andante
8. Prokofiev Violin Sonata No.2 in D major, Op.94a - IV. Allegro con brio
9. Stravinsky Divertimento - I. Sinfonia
10. Stravinsky Divertimento - II. Danses suisses
11. Stravinsky Divertimento - III. Scherzo
12. Stravinsky Divertimento - IV. Pas de deux. Adagio - Variations - Coda


Info (liner notes):

It seems that the principles of sonata form — contrasting themes, development and recapitulation — remained a resilient frame of reference in much twentieth-century music, at least up until the immediate postwar period, by which time all the music in this collection had been written. But when they came to write a self-proclaimed violin sonata, most of the composers represented here did not draw on one concept of the Classical sonata alone, but alluded to a range of traditions and ideas.

Reviews:
Amazon.com customer
This reissue includes one complete CD — the recital from 1994 of Janacek, Debussy, and Prokofiev sontas with the marvelous Piotr Anderszewski — and parts of two others. Real aficionados of Mullova will want to own those in their original form, but it's hard to pass up this mid-priced CD. At the very least it combines both Prokofiev sonatas (No. 1 with Anderszewski, No. 2 with Bruno Canino). I won't give a full review except to say that every reading is unmissable. Mullova is a force to be reckoned with, and it's only a shame that her recent tendency has been to perform mostly Baroque music in period style. As a modernist she ranks with the best around.

Amazon.com customer
Without repeating the raves for the Prokofiev, I must add how very very impressive Mullova and Anderszewski are in the Debussy. What a grand sweeping performance, calling to mind the titans of many years ago in its command, drive, and passion. This must be heard! [...] Mullova sounds far more at home in the moderns, and she plays far more passionately here than she does in her forays into Mozart, and while that probably is proper, the point is that she really goes to town in the moderns. The recording stage of the Janacek and the Debussy sonatas, from 1995, is better than the Prokofief by a bit - but this is all together just one super set. If you haven't any examples of Mullova in modern music you're missing out! Highest recommendation!

Gramophone (partial review)
What a musicianly violinist Viktoria Mullova is. It shows in her versatility of manner as well as of tone-colour. There is a hint of demureness to the opening of her Tchaikovsky-based Stravinsky, but no lack of richness to the second theme or of bite to the toccata-like pages later on. And how carefully she listens to her pianist, realizing in the slow movement of the Ravel that against his deft wit she can afford to wear her heart on her sleeve a little; something similar happens in the finale of the Stravinsky. Her palette of tone colour allows her an intimacy of expression elsewhere in the Ravel, together with a quality that I can only describe as an earnest ardour. Gentleness seems to be the tone set for her Prokofiev, but then with an impulsive spurt towards the second theme she shows that exuberance forms part of her make-up, too; that and (not only in the Prokofiev) a delightful touch of carefree good humour.
A splendid coupling, in short, and a detailed comparison with the formidable list of rival versions [...] comes out almost wholly in Mullova's favour. [...] And Philips's recording for Mullova, intimate but very natural, with an exemplary balance between violin and piano, is pretty well ideal. Strongly recommended.

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