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Duo´s - Verschenen op 9 november 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
At a time when Mozart was writing his first sonatas for violin and clavier, in 1778, it was the done thing to write piano sonatas with violin accompaniment in which the violin part is fairly unobtrusive. The purpose of this was not to put off the target audience for the scores: educated amateurs. But Mozart paid no heed to this convention and took off into a new world with real duets, in which the two instruments found themselves on an even footing. At the same time, he avoided the corrective exaggeration which would appear in some scores which resembled violin concertos with a little piano support. Here we have a perfect balance between the two players: Isabelle Faust on the violin and Alexander Melnikov at the clavier. The latter of the two plays on a copy of a Viennese fortepiano made in 1795 by Anton Walter. The sound balance is utterly perfect, which is a relief, as all too often these sonatas either favour the keyboard part when played on the piano or the violinist tries to force it. We have here two sonatas written in Paris shortly after the death of Mozart's mother (who accompanied him on the journey), and then another from 1787 written in the wake of Leopold Mozart's death. Despite this the composer seems to be putting on a brave face, flashing a smile tinged with a tender nostalgia on the Sonata in E Minor K. 304. © SM/Qobuz
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Kamermuziek - Verschenen op 5 oktober 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Gramophone Editor's Choice - 5 Sterne Fono Forum Klassik
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Kamermuziek - Verschenen op 18 mei 2018 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
Clocking in at a full hour, the Octet in F Major is one of the longest works in the chamber music repertoire. Ravaged by disease, Schubert took as his starting point, as expressly stipulated in the commission he received from the Steward of the Archduke Rodolphe, Beethoven's Septet in E-flat major Op. 20, whose fame greatly chagrined its writer. In Schubert's Octet there is a certain joie de vivre cut across, as ever with him, by occasional notes of desperation (the call of the horn in the first movement, the elegiac turns of the Adagio). In order to meet his patron's very precise specifications, he used the same instrumentation, with the addition of a second violin, and he took on the same order of movements and the same tonal pattern as the Beethovian model. But while Schubert poured his work into this mould so as to please his client, he wrote a very personal work which, by his own account, would lead him towards the great symphonic form which would appear rather later with his Symphony No. 9 in C major. Isabelle Faust and friends make you laugh and cry, moving in perfect unison from one emotion to another, never hesitating to lay this sublime music bare, without any recourse to affected vibrato or excessive expression. A performance that brings us close to the fragility of existence. © François Hudry/Qobuz
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Kamermuziek - Verschenen op 26 mei 2017 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - 4 étoiles Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Duo´s - Verschenen op 17 september 2015 | harmonia mundi

Hi-Res Booklet Onderscheidingen 5 de Diapason - Choc de Classica
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Kamermuziek - Verschenen op 27 augustus 2009 | harmonia mundi

Booklet Onderscheidingen 5 de Diapason - Choc de Classica