Csaba, Heisser - Brahms: Violin Sonatas (2004) [SACD]
![Csaba, Heisser - Brahms: Violin Sonatas (2004) [SACD]](https://www.dibpic.com/uploads/posts/2021-06/1624289895_01adcdac447ecafa073d36a38e1f4a9c.jpg)
- Title: Brahms: Violin Sonatas
- Year Of Release: 2004
- Label: Praga
- Genre: Classical
- Quality: DSD64 image (*.iso) / 2.0, 5.0 (2,8 MHz/1 Bit)
- Total Time: 69:07
- Total Size: 3.6 GB
- WebSite: Album Preview
Tracklist:
Sonata for Piano and Violin No. 1 in G major, Op. 78 (1880)
1. I. Vivace ma non troppo 10:50
2. II. Adagio 07:48
3. III. Allegro molto moderato 08:32
Sonata for Piano and Violin No. 2 in A major, Op. 100 (1886)
4. I. Allegro amabile 08:31
5. II. Andante tranquilo – Vivace – Andante Vivace di più – Andante – Vivace 06:27
6. III. Allegretto grazioso (quasi andante) 05:25
Sonata for Piano and Violin No. 3 in D major, Op. 108 (1886 – 88)
7. I. Allegro 07:55
8. II. Adagio 04:51
9. III. Un poco presto e con sentimento 02:51
10. IV. Presto agitato 05:57
Sonata for Piano and Violin No. 1 in G major, Op. 78 (1880)
1. I. Vivace ma non troppo 10:50
2. II. Adagio 07:48
3. III. Allegro molto moderato 08:32
Sonata for Piano and Violin No. 2 in A major, Op. 100 (1886)
4. I. Allegro amabile 08:31
5. II. Andante tranquilo – Vivace – Andante Vivace di più – Andante – Vivace 06:27
6. III. Allegretto grazioso (quasi andante) 05:25
Sonata for Piano and Violin No. 3 in D major, Op. 108 (1886 – 88)
7. I. Allegro 07:55
8. II. Adagio 04:51
9. III. Un poco presto e con sentimento 02:51
10. IV. Presto agitato 05:57
The Sonata Trilogy that Brahms, written in full maturity, has become the reference in this so particular form of dialogue called “romantic sonata”, each of the three having its own sentimental mood.
The first, using the theme from the “Regenlied”, has obviously for model Beethoven’s last sonata for violin and piano, opus 96. The second let break a warmer intimism, a sort of tribute written “in the wait of a girlfriend”, the young soprano Hermine Spies. The third is written with a much stronger ink : this concertante sonata has a vehemence and a surprising greatness which, this time, exceed the beethovenian model, the Kreutzer Sonata.
The first, using the theme from the “Regenlied”, has obviously for model Beethoven’s last sonata for violin and piano, opus 96. The second let break a warmer intimism, a sort of tribute written “in the wait of a girlfriend”, the young soprano Hermine Spies. The third is written with a much stronger ink : this concertante sonata has a vehemence and a surprising greatness which, this time, exceed the beethovenian model, the Kreutzer Sonata.
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