5 of 5 people found the following review helpful
on 25 August 2014
Obsession becomes collectors of fine music; the ultimate version is but one purchase away. In itself, the quest is platonic. Me, I have at least thirty performances of Bruckner's Ninth Symphony in my library - and nowadays, I'm afraid to audit my Mozart collection: it anchors Australia to its tectonic plate. As such, one should be mindful of Tolstoy's novella "How Much Land does a Man need?" where the protagonist thinks to himself, "If only I had plenty of land, I shouldn't fear the Devil himself!" Lucifer thinks otherwise. Read it for yourself. It charts cupidity and its downfall.
Now, in terms of Mozart's Violin Sonatas - a genre he mined for three decades of his short life - does a person who already possesses Grumiaux/Haskil, Grumiaux/Klien, Mutter/Orkis, Shumsky/Balsam and that metallic Perlman/Barenboim survey in their collection need to acquire Sony's reissue of Zukerman/Neikrug, recorded ever so splendidly in 1990? Is it an imperative? Does one give it a home?
I don't want to compete with Neil Ford's fabulous review (on Amazon.com) other than to add: this is the Real Deal. It ticks every box. Like all great performances of chamber music, it essays essence and interiority: where do you want to go? Imagination and artistry of the highest order underwrite every bar. Even for those versed in this music (say, the Andantino Cantabile of K 379) this is an onslaught: vanquishment is yours. And who would have thought that such richness could be mined from the early sonatas? And yes, Neil: the Adagio of K 30 heralds the harvest-to-come. It's summer and not even the full of it.
We live in Shadowlands where it's all too easy to chase phantoms, ephemerals and copies. Here, one touches extremities of the Real. Tarry not - and may the Devil take us all!