» » » Wolfgang Amadeus Mozart - Violin Sonatas K301, 304, 379 & 481 - Alina Ibragimova, Cedric Tiberghien (2016) High-Fidelity FLAC Stereo 24bit/96kHz
Wolfgang Amadeus Mozart - Violin Sonatas K301, 304, 379 & 481 - Alina Ibragimova, Cedric Tiberghien (2016) High-Fidelity FLAC Stereo 24bit/96kHz
Wolfgang Amadeus Mozart - Violin Sonatas K301, 304, 379 & 481 - Alina Ibragimova, Cedric Tiberghien (2016) High-Fidelity FLAC Stereo 24bit/96kHz

Сomposer: Wolfgang Amadeus Mozart (1756-1791)
Artist: Alina Ibragimova, Cédric Tiberghien
Title: Mozart - Violin Sonatas K301, 304, 379 & 481
Genre: Classical
Label: © Hyperion Records
Release Date: 2016
Quality: High-Fidelity FLAC Stereo 96kHz/24bit
Source: hyperion-records
Duration: 103 minutes 54 seconds
Recorded: October 2014, Concert Hall, Wyastone Estate, Monmouth, United Kingdom


Mozart’s violin sonatas span his entire career—the early ones are billed as piano sonatas with optional violin accompaniment—and they develop over the years into the first triumphs of the modern genre. Alina Ibragimova and Cédric Tiberghien have been enthralling audiences worldwide with these works, and now the first instalment is available as a highly desirable 2-for-1 album.

Call me a killjoy, but my pulse rate rarely quickens at the prospect of Mozart’s pre-pubescent music. The three childhood works on these discs—essentially keyboard sonatas with discreet violin support—go through the rococo motions pleasantly enough. But amid the music’s chatter and trickle, only the doleful minore episode in the minuet finale of K30 and the carillon effects in the corresponding movement of K14 (enchantingly realised here) offer anything faintly individual. Still, it would be hard to imagine more persuasive performances than we have here from the ever-rewarding Tiberghien-Ibragimova duo: delicate without feyness, rhythmically buoyant (Tiberghien is careful not to let the ubiquitous Alberti figuration slip into auto-ripple) and never seeking to gild the lily with an alien sophistication.
The players likewise bring the crucial Mozartian gift of simplicity and lightness of touch (Ibragimova’s pure, sweet tone selectively warmed by vibrato) to the mature sonatas that frame each of the two discs. It was Mozart, with his genius for operatic-style dialogues, who first gave violin and keyboard equal billing in his accompanied sonatas; and as in their Beethoven sonata cycle (Wigmore Hall Live), Tiberghien and Ibragimova form a close, creative partnership, abetted by a perfect recorded balance (in most recordings I know the violin tends to dominate). ‘Every phrase tingles,’ I jotted down frivolously as I listened to the opening Allegro of the G major Sonata, K301, truly con spirito, as Mozart asks, and combining a subtle flexibility with an impish glee in the buffo repartee.
Tiberghien and Ibragimova take the opening Allegro of the E minor Sonata, K304, quite broadly, emphasising elegiac resignation over passionate agitation. But their concentrated intensity is compelling both here and in the withdrawn—yet never wilting—minuet. Especially memorable are Ibragimova’s chaste thread of tone in the dreamlike E major Trio, and Tiberghien’s questioning hesitancy when the plaintive Minuet theme returns, an octave lower, after the Trio.
In the G major Sonata, K379, rapidly composed for a Viennese concert mounted by Archbishop Colloredo just before Mozart jumped ship, Tiberghien and Ibragimova are aptly spacious in the rhapsodic introductory Adagio (how eloquently Tiberghien makes the keyboard sing here), and balance grace and fire in the tense G minor Allegro. In the variation finale their basic tempo sounds implausibly jaunty for Mozart’s prescribed Andantino cantabile, though objections fade with Tiberghien’s exquisite voicing of the contrapuntal strands in the first variation. I enjoyed the latest of the sonatas, K481, unreservedly, whether in the players’ exuberant give-and-take in the outer movements or their rapt, innig Adagio, where Ibragimova sustains and shades her dulcet lines like a thoroughbred lyric soprano. Having begun this review in grudging mode, I’ll end in the hope that these delightful, inventive performances presage a complete series of Mozart’s mature violin sonatas, with or without a smattering of childhood works. --Richard Wigmore, Gramophone


Tracklist:
Wolfgang Amadeus Mozart (1756-1791)
Violin Sonata in G major K301
1 Allegro con spirito[7'39]
2 Allegro[5'33]
Violin Sonata in B flat major K10
3 Allegro[4'19]
4 Andante[7'03]
5 Menuetto[3'25]
Violin Sonata in E flat major K481
6 Molto allegro[7'09]
7 Adagio[7'16]
8 Allegretto (with variations)[8'02]
Violin Sonata in G major K379
9 Adagio – Allegro[10'01]
10 Theme and variations: Andantino cantabile[8'01]
Violin Sonata in F major K30
11 Adagio[5'50]
12 Rondo: Tempo di Menuetto[3'15]
Violin Sonata in C major K14
13 Allegro[4'40]
14 Allegro[2'50]
15 Menuetto[3'27]
Violin Sonata in E minor K304
16 Allegro[9'37]
17 Tempo di Menuetto[5'47]


Personnel:
Alina Ibragimova, violin
Cédric Tiberghien, piano


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