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Review
This young partnership mesmerises and captivates. --The Observer
'...There is no doubt that this cycle ranks with any and surpasses many, offering a blend of virtuosity, superb musicianship and style-consciousness that go to the heart of the ten masterpieces it traverses.' --International Record Review, May 2011
'...There is no doubt that this cycle ranks with any and surpasses many, offering a blend of virtuosity, superb musicianship and style-consciousness that go to the heart of the ten masterpieces it traverses.' --International Record Review, May 2011
CD Description
Marking the end of their unanimously-praised series, star-kissed young performers, [The Times] Alina Ibragimova and Cédric Tiberghien, release the third and final volume in their live recordings of the complete Beethoven violin sonatas. The duo s recordings on Wigmore Hall Live have set new standards, with volumes one and two garnering superb 5* reviews and several Editor s choice accolades. This last release features sonatas No.6 in A op.30 no.1 and No. 3 in E flat op.12, as well as the No.9 in A op.47, better known as the 'Kreutzer', Beethoven s biggest and most challenging sonata. After its live performance at the Wigmore Hall in May 2010, The Times commented The duo s boldest showcase was the Kreutzer Sonata, with its firecracker outer movements and lovely soft centre and Ibragimova s bow worked overtime. Loose threads kept dangling. Her pizzicato was wicked. In accomplishing works that many artists do not attempt until late in their career, the duo have brought something new and original to this pinnacle of the chamber repertoire: the partnership with Tiberghien sounds fresh and spontaneous [Financial Times]. Meanwhile BBC Music Magazine, in its 5* review, comments [Ibragimova] has the kind of tone and expression that pins you to the back of your seat. The duo, who met on the BBC Radio 3 s New Generation Artists scheme over five years ago, describe their playing and recording of the complete sonata cycle as, as much a personal as a musical journey. Tiberghien comments To travel through all ten sonatas, to play them live, is really something that changes you, as a musician and also as a human being.
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Customer Reviews
Most Helpful Customer Reviews
2 of 5 people found the following review helpful
Format:Audio CD
This is not my review, because I gave the CD as a present to my sister-in-law. The following are her comments:
"I found the CD charming - a lyrical and sensitive performance of Beethoven's writing, although I do not have a direct comparison as I have no other recording! The Kreutzer Sonata - the one I am most familiar with - is delightful. I rate it highly, especially the first movement."
"I found the CD charming - a lyrical and sensitive performance of Beethoven's writing, although I do not have a direct comparison as I have no other recording! The Kreutzer Sonata - the one I am most familiar with - is delightful. I rate it highly, especially the first movement."
2 of 6 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
This CD has only arrived this morning and I've so far listened to only to the op.30 no.1 and the first movement of the op.12 no. 3 in the car on my lunch-break. That's all it takes to know that these artists are something very special. A performance of breath-taking joy and delight.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
2 reviews
2 of 3 people found the following review helpful
Clean, fairly tidy readings that serve well, up until the "Kreutzer"
18 April 2012
Format:Audio CD
Although I've heard of pianist Cedric Tiberghien, I had to run to Wikipedia to discover anything about violinist Alina Ibragimova, who is 26, Russian-born, and the daughter of a double-bassist who moved his family to the UK after he was appointed to first char in the London Sym. Ibragimova's schooling in England was primarily through the Yehudi Menuhin School, and she even played at his funeral service in Westminster Abbey in 1999. Since she is a devotee of period performance, I was wary of this ongoing series of Beethoven sonatas, but vibrato isn't reduced to the vanishing point, for which I'm grateful.
Violin sonatas are difficult to balance. In Beethoven's time the piano was a softer instrument than the modern concert grand, and being deaf, the composer didn't pay much attention to balance in the first place. that is, he assigned heroic lines to the violin that nowadays have a hard time sounding over the piano. But that's of little consequence in recordings, where the engineer has control over volume levels. Here from Wigmore Hall, both instruments are given their fair due. Tiberghien is a superior accompanist, as often happens when soloists take over this role. His clarity is admirable, and you hear an actual interpretation of the piano part (one remembers that the Kreutzer sonata was listed in Beethoven's notebooks with the piano before the violin: "Sonata per il Pianoforte ed uno violino obligato in uno stile molto concertante come d'un concerto".
Here I almost find the violinist secondary. Ibrgimova doesn't take a virtuoso stance; she is clear, restrained, and balanced. In the relatively chaste sonatas no. 3 and 6 this serves well enough. Everything is neatly packaged and expressed. But what of the Kreutzer, one of the towering monuments in the solo violin repertoire? It is written on a titanic scale, so far as voicing goes, and the solo entry of the violin seems to deliberately recall Bach's equally monumental sonatas and partitas. I was afraid that the acclaim of British critics meant that this was a tidy, unadventurous reading - London reviewers like neatness - and so it proves. Neither Ibragimova nor Tiberghien ever runs free, giving anything like free scope to the conception of the piece. As it happens, I heard Christian Tetzlaff play the Kreutzer in Wigmore Hall a few years ago, and the tameness of this reading stands in stark contrast to his bold attack.
But in its clean, very musical way, this restrained approach clearly satisfies many, those listeners who don't care if the Kreutzer isn't played as heroically as it can be. I'll stick with Szigeti and Vengerov, to name one historic recording and one from the modern era.
Violin sonatas are difficult to balance. In Beethoven's time the piano was a softer instrument than the modern concert grand, and being deaf, the composer didn't pay much attention to balance in the first place. that is, he assigned heroic lines to the violin that nowadays have a hard time sounding over the piano. But that's of little consequence in recordings, where the engineer has control over volume levels. Here from Wigmore Hall, both instruments are given their fair due. Tiberghien is a superior accompanist, as often happens when soloists take over this role. His clarity is admirable, and you hear an actual interpretation of the piano part (one remembers that the Kreutzer sonata was listed in Beethoven's notebooks with the piano before the violin: "Sonata per il Pianoforte ed uno violino obligato in uno stile molto concertante come d'un concerto".
Here I almost find the violinist secondary. Ibrgimova doesn't take a virtuoso stance; she is clear, restrained, and balanced. In the relatively chaste sonatas no. 3 and 6 this serves well enough. Everything is neatly packaged and expressed. But what of the Kreutzer, one of the towering monuments in the solo violin repertoire? It is written on a titanic scale, so far as voicing goes, and the solo entry of the violin seems to deliberately recall Bach's equally monumental sonatas and partitas. I was afraid that the acclaim of British critics meant that this was a tidy, unadventurous reading - London reviewers like neatness - and so it proves. Neither Ibragimova nor Tiberghien ever runs free, giving anything like free scope to the conception of the piece. As it happens, I heard Christian Tetzlaff play the Kreutzer in Wigmore Hall a few years ago, and the tameness of this reading stands in stark contrast to his bold attack.
But in its clean, very musical way, this restrained approach clearly satisfies many, those listeners who don't care if the Kreutzer isn't played as heroically as it can be. I'll stick with Szigeti and Vengerov, to name one historic recording and one from the modern era.
2 of 4 people found the following review helpful
The critics agree and so do I!
5 July 2011
Format:Audio CD
This recording has been a critical success! All of the major critics agree that it is the finest selection of modern recordings of this repertoire. Who am I to disagree. I can not stop listening to it!
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