Tasmin Little plays Faure, Lekeu, Ravel
This despatch estimate is based on information from both our own stock and the UK supplier's stock.
If ordering multiple items, we will aim to send everything together so the longest despatch estimate will apply to the complete order.
If you would rather receive certain items more quickly, please place them on a separate order.
If any unexpected delays occur, we will keep you informed of progress via email and not allow other items on the order to be held up.
If you would prefer to receive everything together regardless of any delay, please let us know via email.
Pre-orders will be despatched as close as possible to the release date.
Cat No: CHAN10812
Number of Discs: 1
Release Date: 3rd November 2014
WorksViolin Sonata no.1 in A major, op.13
Violin Sonata in G major
Violin Sonata no.1 in A minor, op.post
ArtistsTasmin Little (violin)
Martin Roscoe (piano)
Our exclusive Chandos artist Tasmin Little explores three great French violin sonatas, after a much revered recording of British violin sonatas in 2013. She and pianist Martin Roscoe have enjoyed a long-standing chamber music partnership. On this album they immerse themselves in music of three of the best late-nineteenth-century French composers: Gabriel Fauré, Guillaume Lekeu and Maurice Ravel.
Written in 1875, shortly after his thirtieth birthday, the Sonata in A major by Gabriel Fauré has often been regarded as his first masterpiece. And despite having faced a daunting reception, it has become a reference in the romantic repertoire. The first two movements, serious and solemn, are followed by light-footed, airy movements, the final Allegro drawing energy from Fauré's favourite off-beat chordal accompaniment.
As the last arrival in the ‘Bande ŕ Franck’, Guillaume Lekeu, in his twenty-four year long life, wrote some fifty pieces of ‘tremulous emotion’, of which the Violin Sonata, of 1892–93, is by far the best known.
The opening movement of an unfinished early violin sonata by Ravel was not published until 1975, his centenary year, and the first known modern performance took place that year in New York. The movement convincingly unites different styles, from Fauré’s in the modal opening to Franckian chords in the development passage that leads back to the tune over chromatically descending triads ŕ la Debussy, not to mention a second theme, over pulsing quavers, that clearly belongs to the Gounod/Massenet tradition.
Error on this page? Let us know here
Need more information on this product? Click here