Μνημειώδεις ερμηνείες : Beethoven - Violin Sonata No.9 in A Major Op.47 "Kreutzer" (Ct.rc.: W.Schneiderhan, Wilhelm Kempff)

00:00 Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' - I. Adagio sostenuto, Presto 14:44 Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' - II. Andante con variazioni I-IV 32:16 Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' - III. Finale, Presto Violin: Wolfgang Schneiderhan Piano: Wilhlem Kempff Recorded in 1952, at Vienna New mastering in 2021 by AB for CMRRAlmost forgotten version and yet magnificent (perhaps because of the bad sound restitution which is here of a quality superior to any other edition). The union of two great Beethovenians at the pinnacle of their art. 

The complete edition is available on youtube music and on all major music streaming platforms: https://www.youtube.com/watch?v=ywUm2... 

 

The recordings were made on Schneiderhan's home turf, in the excellent acoustic of the Mozart saal at the Konzerthaus, the artists tackling the sonatas in order of opus number. This cycle shows every sign of careful preparation — to the extent of using a new Urtextedition. One is struck by the aptness of the partnership, arising as much from the differences between the players as from their similarities. Kempff has sometimes been accused of taking a lightweight view of Beethoven and conversely Schneiderhan has been criticized on occasion for being too serious. By one of those lucky chances of chemistry, the two of them create a synergy which emphasizes their virtues and cancels out their negative points. The performances rest on a solid foundation of luminous piano and violin tone, generous phrasing and a mutual rhythm which seems to bubble up from within the music. Beethoven's 9th violin sonata, commonly known as the Kreutzer Sonata, was published as his Op. 47. It is known for its demanding violin part, unusual length (a typical rendition taking around 40 minutes), and emotional scope — while the first movement is predominantly furious, the second is meditative and the third joyous and exuberant. Originally dedicated to violinist George Bridgetower who performed it sight-reading with Beethoven at the 1803 premiere it was later rededicated to Rodolphe Kreutzer, widely considered the finest violinist of the day. The reason for the change was that, apparently, Bridgetower had insulted a woman cherished by Beethoven. Kreutzer, however never performed the work, considering it unintelligible. It is said that, in fact, he did not really care for Beethoven's music. The first movement is introduced adagio in the key of A major by the violin. After the entrance of the piano and a passage in minor begins a vehement presto, the framework of this movement which ends on an energetic coda after a brief recall of the theme of the adagio. The contrast is striking with the softness of the second movement, superb and ample variations in the key of F major. The calm is suddenly broken by the entry of the third movement, a virtuosic and exuberant piece in tarantella form, originally composed for the Sonata for Violin and Piano Op.30 No.13,6, which ends in a frantic rush, as if by exhaustion of both instruments. Rare are the duet sonatas where the duality of the instruments is so emphasized: the composer declared that he had written this sonata in the style of a concerto, and musicologist Chantavoine described the first and third movements as "a veritable corps à corps between the two instruments. Ludwig Van Beethoven PLAYLIST (reference recordings): https://www.youtube.com/playlist?list...