György Pauk & Peter Frankl - Schubert: Complete Music for Violin and Piano (2015)
BAND/ARTIST: György Pauk, Peter Frankl
- Title: Schubert: Complete Music for Violin and Piano
- Year Of Release: 2015
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 02:17:18
- Total Size: 566 mb
- WebSite: Album Preview
Tracklist
01. Violin Sonata in A Major, D. 574: I. Allegro moderato
02. Violin Sonata in A Major, D. 574: II. Scherzo. Presto
03. Violin Sonata in A Major, D. 574: III. Andantino
04. Violin Sonata in A Major, D. 574: IV. Allegro vivace
05. Fantasie In C Major, D. 934: I. Andante molto - Allegro vivace
06. Fantasie In C Major, D. 934: II. Andantino
07. Fantasie In C Major, D. 934: III. Allegro presto
08. Violin Sonata in D Major, D. 384: I. Allegro molto
09. Violin Sonata in D Major, D. 384: II. Andante
10. Violin Sonata in D Major, D. 384: III. Allegro vivace
11. Violin Sonata in A Minor, D. 385: I. Allegro moderato
12. Violin Sonata in A Minor, D. 385: II. Andante
13. Violin Sonata in A Minor, D. 385: III. Menuetto. Allegro -Trio
14. Violin Sonata in A Minor, D. 385: IV. Allegro
15. Violin Sonata in G Minor, D. 408: I. Allegro giusto
16. Violin Sonata in G Minor, D. 408: II. Andante
17. Violin Sonata in G Minor, D. 408: III. Menuetto - Trio
18. Violin Sonata in G Minor, D. 408: IV. Allegro moderato
19. Violin Sonata in G Minor, D. 408: Rondo in B Minor, D. 895
20. Arpeggione Sonata in A minor, D. 821: I. Allegro moderato
21. Arpeggione Sonata in A minor, D. 821: II. Adagio - Allegretto
These 1964 recordings have worn well, and stand their ground in what is hardly a competitive marketplace for this lovely and still little-known music. These Hungarian-born, later UK-resident musicians play Schubert to the manner born, rejoicing in the relaxed Viennese tradition which is their birthright; as Gramophone noted at the time of the first release, these interpretations "are always technically accomplished, sensitive and well thought out and much to be preferred to many a more sensational rendering. Pauk's firm tone and capacity for long-breathed phrasing are shown to good advantage in the opening of the Fantasy... As always the ensemble is impeccable...As usual Vox have supplied a sympathetic acoustic with just that extra touch of reverberation sufficient to take away all trace of a clinical studio atmosphere."
They are complemented here, as they were at the time of their original LP issue, by a no less sprightly performance of the sonata Schubert wrote for the obsolete Arpeggione, now most commonly heard on the cello. Gramophone’s critic observed Paul Olevsky’s "rich and beautiful tone" at the time.
Considering his perfect knowledge of the violin’s resources – he was a violinist from early childhood – it is astonishing that Schubert wrote so little for this instrument, especially in his brief maturity, from which we have only two works. The other duos and sonatinas to be enjoyed here are products of the composer’s prolific teenage years, more than charming in their own right, not pretending to the emotional depth of the Rondo brillant D895 and the Fantasy D934, of which the last in particular deserves to be set alongside his final Mass and symphony, the late songs, sonatas and quartets, for its free reinvention of a genre – a four-section Fantasy, even more expansive than the "Wanderer" for solo piano – through long-breathed melodies and adventurous harmonic explorations.
01. Violin Sonata in A Major, D. 574: I. Allegro moderato
02. Violin Sonata in A Major, D. 574: II. Scherzo. Presto
03. Violin Sonata in A Major, D. 574: III. Andantino
04. Violin Sonata in A Major, D. 574: IV. Allegro vivace
05. Fantasie In C Major, D. 934: I. Andante molto - Allegro vivace
06. Fantasie In C Major, D. 934: II. Andantino
07. Fantasie In C Major, D. 934: III. Allegro presto
08. Violin Sonata in D Major, D. 384: I. Allegro molto
09. Violin Sonata in D Major, D. 384: II. Andante
10. Violin Sonata in D Major, D. 384: III. Allegro vivace
11. Violin Sonata in A Minor, D. 385: I. Allegro moderato
12. Violin Sonata in A Minor, D. 385: II. Andante
13. Violin Sonata in A Minor, D. 385: III. Menuetto. Allegro -Trio
14. Violin Sonata in A Minor, D. 385: IV. Allegro
15. Violin Sonata in G Minor, D. 408: I. Allegro giusto
16. Violin Sonata in G Minor, D. 408: II. Andante
17. Violin Sonata in G Minor, D. 408: III. Menuetto - Trio
18. Violin Sonata in G Minor, D. 408: IV. Allegro moderato
19. Violin Sonata in G Minor, D. 408: Rondo in B Minor, D. 895
20. Arpeggione Sonata in A minor, D. 821: I. Allegro moderato
21. Arpeggione Sonata in A minor, D. 821: II. Adagio - Allegretto
These 1964 recordings have worn well, and stand their ground in what is hardly a competitive marketplace for this lovely and still little-known music. These Hungarian-born, later UK-resident musicians play Schubert to the manner born, rejoicing in the relaxed Viennese tradition which is their birthright; as Gramophone noted at the time of the first release, these interpretations "are always technically accomplished, sensitive and well thought out and much to be preferred to many a more sensational rendering. Pauk's firm tone and capacity for long-breathed phrasing are shown to good advantage in the opening of the Fantasy... As always the ensemble is impeccable...As usual Vox have supplied a sympathetic acoustic with just that extra touch of reverberation sufficient to take away all trace of a clinical studio atmosphere."
They are complemented here, as they were at the time of their original LP issue, by a no less sprightly performance of the sonata Schubert wrote for the obsolete Arpeggione, now most commonly heard on the cello. Gramophone’s critic observed Paul Olevsky’s "rich and beautiful tone" at the time.
Considering his perfect knowledge of the violin’s resources – he was a violinist from early childhood – it is astonishing that Schubert wrote so little for this instrument, especially in his brief maturity, from which we have only two works. The other duos and sonatinas to be enjoyed here are products of the composer’s prolific teenage years, more than charming in their own right, not pretending to the emotional depth of the Rondo brillant D895 and the Fantasy D934, of which the last in particular deserves to be set alongside his final Mass and symphony, the late songs, sonatas and quartets, for its free reinvention of a genre – a four-section Fantasy, even more expansive than the "Wanderer" for solo piano – through long-breathed melodies and adventurous harmonic explorations.
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