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Mozart - Violin Sonatas
£13.75
Currently out of stock at the UK suppliers. Available to order, but is likely to take longer than usual to despatch
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New Item
Label: Hyperion
Cat No: CDA68091
Barcode: 0034571280912
Format: CD
Number of Discs: 2
Genre: Chamber
Release Date: 29th April 2016
The balance between pianist Cédric Tiberghien and violinist Alina Ibragimova on this recording is as beautifully calibrated as always in this long-standing partnership, but here, unusually, it is Tiberghien’s poised, lyrical piano playing that is, more often than not, to the fore. ... Each work gets a subtly different approach. Highlights include Ibragimova’s tone as she blossoms into the major-key slow theme in the adagio of K481, and Tiberghien’s echoey, bell‑like episode in the Sonata, K14; but there is something to raise a smile in every single movement. 
... it would be hard to imagine more persuasive performances [of the early sonatas] 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). 
Tiberghien’s limpid phrasing, radiant cantabile and velvety, cushioned tone combine exquisitely, captured to perfection by production dream-team Andrew Keener and Simon Eadon. ... Ibragimova and Tiberghien respond [to K304] with playing of captivating subtlety, tracing the music’s semantic ambiguities with nerve-jangling acuity. Treating this as the emotional gateway to the later sonatas, they respond to the enhanced emotional range of No. 27, K379 and No. 33, K481 with such graceful sensitivity and micro-inflected insight that at the point of contact it is difficult to imagine them better played. 
