Friederike Starkloff, José Gallardo - Mozart: Sonatas for Piano and Violin (2012)
BAND/ARTIST: Friederike Starkloff, José Gallardo
- Title: Mozart: Sonatas for Piano and Violin
- Year Of Release: 2012
- Label: Oehms Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:10:40
- Total Size: 260 mb
- WebSite: Album Preview
Tracklist
01. Violin Sonata No. 25 in F Major, Op. 2 No. 3, K. 377: I. Allegro
02. Violin Sonata No. 25 in F Major, Op. 2 No. 3, K. 377: II. Theme and Variations. Andante
03. Violin Sonata No. 25 in F Major, Op. 2 No. 3, K. 377: III. Tempo di Minuetto
04. Violin Sonata No. 32 in B-Flat Major, K. 454: I. Largo - Allegro
05. Violin Sonata No. 32 in B-Flat Major, K. 454: II. Andante
06. Violin Sonata No. 32 in B-Flat Major, K. 454: III. Allegretto
07. Violin Sonata No. 35 in A major, K. 526: I. Molto allegro
08. Violin Sonata No. 35 in A major, K. 526: II. Andante
09. Violin Sonata No. 35 in A major, K. 526: III. Presto
10. Serenade No. 7 in D major, K. 250, 'Haffner': IV. Rondo. Allegretto (Arr. F. Kreisler)
This German release gets the title of these Mozart sonatas right: they are sonatas for piano and violin, not sonatas for violin and piano. Moreover, the balance is right as well: the baseline momentum is carried by the piano, with the violin coming in with just the right charmed subtlety. The title is Mozart's, and it's one that everybody else would have used at the time for this genre, which often involved a piano sonata with an ad libitum violin accompaniment. The comparative equality between the two instruments in Mozart's sonatas, especially the K. 454 sonata in B flat major, would have been a point of surprise in their favor. The cover photo, however, is of 21-year-old German violinist Friederike Starkloff, a then-recent contest winner who handles the restricted role of the violin well. Neither she nor Argentine pianist José Gallardo adds anything terribly new to the music, but there's an unassuming grace to the performances that seeps in after repeated hearings. The performers are not well supported by the usually fine Oehms engineering team, working in the University of Augsburg Concert Hall. The space is too live for this chamber music, and the problems are compounded by close miking that lets you hear every bit of violin bow noise. In situations where sound quality isn't a priority, some may enjoy this exposition of a promising young talent.
01. Violin Sonata No. 25 in F Major, Op. 2 No. 3, K. 377: I. Allegro
02. Violin Sonata No. 25 in F Major, Op. 2 No. 3, K. 377: II. Theme and Variations. Andante
03. Violin Sonata No. 25 in F Major, Op. 2 No. 3, K. 377: III. Tempo di Minuetto
04. Violin Sonata No. 32 in B-Flat Major, K. 454: I. Largo - Allegro
05. Violin Sonata No. 32 in B-Flat Major, K. 454: II. Andante
06. Violin Sonata No. 32 in B-Flat Major, K. 454: III. Allegretto
07. Violin Sonata No. 35 in A major, K. 526: I. Molto allegro
08. Violin Sonata No. 35 in A major, K. 526: II. Andante
09. Violin Sonata No. 35 in A major, K. 526: III. Presto
10. Serenade No. 7 in D major, K. 250, 'Haffner': IV. Rondo. Allegretto (Arr. F. Kreisler)
This German release gets the title of these Mozart sonatas right: they are sonatas for piano and violin, not sonatas for violin and piano. Moreover, the balance is right as well: the baseline momentum is carried by the piano, with the violin coming in with just the right charmed subtlety. The title is Mozart's, and it's one that everybody else would have used at the time for this genre, which often involved a piano sonata with an ad libitum violin accompaniment. The comparative equality between the two instruments in Mozart's sonatas, especially the K. 454 sonata in B flat major, would have been a point of surprise in their favor. The cover photo, however, is of 21-year-old German violinist Friederike Starkloff, a then-recent contest winner who handles the restricted role of the violin well. Neither she nor Argentine pianist José Gallardo adds anything terribly new to the music, but there's an unassuming grace to the performances that seeps in after repeated hearings. The performers are not well supported by the usually fine Oehms engineering team, working in the University of Augsburg Concert Hall. The space is too live for this chamber music, and the problems are compounded by close miking that lets you hear every bit of violin bow noise. In situations where sound quality isn't a priority, some may enjoy this exposition of a promising young talent.
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