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Bartok: Violin Sonatas

4.0 4.0 out of 5 stars 9 ratings

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Audio CD, 11 Feb. 2008
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Track Listings

1 I Allegro appassionato
2 II Adagio
3 III Allegro
4 I Molto moderato
5 II Allegretto
6 I. Tempo di ciaccona
7 II. Fuga
8 III. Melodia
9 IV. Presto

Product details

  • Product Dimensions ‏ : ‎ 30 x 1 x 30 cm; 94.4 g
  • Manufacturer ‏ : ‎ EMI
  • Label ‏ : ‎ EMI
  • ASIN ‏ : ‎ B00127ITJO
  • Number of discs ‏ : ‎ 1
  • Customer reviews:
    4.0 4.0 out of 5 stars 9 ratings

Customer reviews

4 out of 5 stars
9 global ratings

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Top reviews from United Kingdom

  • Reviewed in the United Kingdom on 10 March 2011
    I agree with the "third eye" guide that the solo violin sonata is played without feeling by Tetzlaff. For me, he doesn't reveal the beauty of III Melodia at all - contrast it with Pauk on Naxos, whose account of the Melodia is lovely and singing.

    I've given three stars because the two performers work very well together on violin sonata 1, with Andsnes providing character, control and immaculate timing - Tetzlaff thrives on the partnership and a beautiful performance ensues. So worth buying for that alone. But if you are a bit disappointed by the solo performance, try Pauk.

    P.S. Why is Andsnes's name smaller than Tetzlaff's on the cover?
    2 people found this helpful
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  • Y.F
    5.0 out of 5 stars エクリチュールの海に浸るような演奏
    Reviewed in Japan on 26 January 2019
    エクリチュールの描写と干渉による変奏、バルトークの音楽はブーレーズらの現代音楽とは流れを異にすると云われるのはこの意味でしょうか?ゴドフスキーやソラブジ、アムランなどの過剰なまでの音と変奏の音楽のルーツが、ポリフォニックな古楽演奏にあるかと思われるのと同じ、そんなバルトークを堪能いたしました。
  • raymond Obermayr
    5.0 out of 5 stars Great music
    Reviewed in the United States on 11 June 2013
    Clear recording. I expect that of Tetzlaff. I don't think he would ever accept any production that is not excellent. Of course his artistry brings out the best of his chosen composers. Good listening forever.
  • Savinien
    5.0 out of 5 stars Une belle collaboration
    Reviewed in France on 30 May 2010
    Le minutage généreux nous permet d'avoir les sonates pour piano et violon et la sonate pour violon seul, dans un couplage très intelligent. Tetzlaff nous avait déjà offert en 1991 une sonate pour violon seul très remarquée; il récidive ici avec une approche tout aussi convaincante, soulignant les phrases avec une grande cohésion, aidé par une technique sans faille. L'entrée du presto final particulièrement est de toute beauté. Dans les deux sonates pour piano et violon, l'entente avec Andsnes est parfaite. Avec une grande maîtrise, le pianiste norvégien réussit à soutenir la difficile partie de piano en évitant toute brutalité, le sens du rythme des deux interprêtes permettant alors une véritable symbiose. Une interprétation expressive, uniforme, à la fois déterminée et sensible; en somme toute cérébrale. C'est d'ailleurs le seul reproche que l'on pourrait faire (éventuellement) : peut-être est-ce parfois un peu trop "calculé". Quoiqu'il en soit, dans une excellente qualité de son, nous avons ici un disque Bartok très réussi; une belle collaboration de deux grands artistes au service de la musique de chambre du XXème siècle.
  • Moldyoldie
    4.0 out of 5 stars A Fine Way To Delve Deeper Into Bartók
    Reviewed in the United States on 19 August 2008
    After several previous listening entries, mainly in the orchestral and concerto forms, I now feel comfortably inside the idiom where Bartók's Violin Sonatas firmly reside. It's where angularity and emotive phrasing supersede an often futile effort at establishing melody to make for a listening experience that ultimately comes to rest somewhere just the other side of "comfortable". In the Sonata No. 1 and No. 2, Teztlaff and Andsnes make for able and sympathetic guides, exploiting an impressive array of dynamic and tonal ranges and often exchanging the lead in their dialogue so that the listener feels as if he's overhearing a poignant, intimate conversation whose participants covertly wish to be overheard -- by turns contemplative and then nakedly expressive. This is aided by a recording scheme which gives equal weight to each instrument -- indeed, the violin is occasionally overcome in the balance. The Amazon reviewer is correct in suggesting that Tetzlaff's phrasing offers very fine intonation without added astringency, allowing Bartók's moderately and inherently astringent expression to speak effectively on its own. (By the by, there's a brief musical statement in the Sonata No. 1 which I know I've heard before, but I just can't nail it!) This is my introduction to these works and I greatly look forward to continuing on in the Bartókian journey.