Years before J.S. Bach paved the way toward what is now largely considered the height of the German Baroque, Dietrich Buxtehude was hard at work in northern Germany on his own individual union of the Italian and French Baroque styles. His Op. 1 is a sumptuous, dynamic set of seven sonatas scored for violin, gamba, and continuo (played here by cello and harpsichord). Unlike composers both before and after him, Buxtehude was far from formulaic when it came to the organization of his sonatas, each one having its own unique combination and sequence of movements.
The viola was Hindemith's instrument (though he could play almost any), and he wrote some of his most expressive chamber music for it. This two-disc set includes all four of Hindemith's sonatas for solo violin and the three for viola and piano. I prefer the wildness of Hindemith's earlier music to the sometimes arid calm of his later music, so listeners like myself who like Hindemith can have a feast here as most of these are early works. They are played with energy and passion by an outstanding violist and a fine pianist.
Fans of either cellist Mstislav Rostropovich or pianist Sviatoslav Richter will have to hear the performances on this two-disc Doremi set. It contains the four pieces they performed in Moscow on March 1, 1950 Brahms' Sonata No. 1 and Beethoven's sonatas No. 3 and No. 4, plus the world premiere of Prokofiev's sonata and two of the pieces they played at the Aldeburgh Festival on June 20, 1964 Grieg's sonata as well as another Brahms' Sonata No. 1.
As well as Brahms’ 175th birthday in 2008 inspired these recordings in the “Kunsthaus” in Mürzzuschlag. Ronald Fuchs and Chanda VanderHart play, in addition to the two cello sonatas, six Brahms lieder transcriptions in their original keys. The lieder selected have a special connection to both the Streicher piano and with Mürzzuschlag itself. Brahms played severel of them, including “Wie Melodien zieht es mir” with Hermine Spies, and composed both “Sapphische Ode” and “Der Tod, das ist die kühle Nacht” during his time in Mürzzuschlag.
Vadim Repin suggests in the booklet’s notes that he and Nikolai Lugansky chose a program for their first studio recording together that mimics a recital in this case, that would be a sonata recital. This sonata the introductory passage, Lento doloroso , of Edvard Grieg’s Second Sonata displays in the duo’s performance a haunting poignancy that their energetic reading of the movement proper hardly dispels.
When András Schiff completed the recording of all of Schubert's piano sonatas in the 1990s, Decca released a box set containing all of the individual discs from the series. For this 2011 reissue, Decca goes one step further and includes Schiff's recordings of the Impromptus, the Moments musicaux, and several other shorter works. Schubert's music, along with that of Bach and Mozart, is one of the cornerstones upon which Schiff built his reputation as a thoughtful and intelligent performer. Anyone looking for a complete set of the Schubert sonatas could do much worse than to choose this one by one of the foremost Schubert interpreters of his generation.
This important set contains the sixteen Beethoven sonatas that Wilhelm Kempff recorded for Grammophon in Germany between 1940 and 1943. Several are reissued here for the first time since their original release on 78rpm discs and none are currently available elsewhere. The sound is excellent for the period and all reveal the young Kempff at his best, in performances that compliment his later thoughts. The release is the companion of two previous APR releases of early Kempff Beethoven recordings the late sonatas (APR6018) and piano concertos 1, 3, 4 & 5 (APR6019), both of which received excellent reviews and were amongst APRs best sellers.