Customer Reviews

Beethoven: Sonatas for Violin and Piano

5 star:		(6)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Many pairs have given us some fine readings of Beethoven's violin sonatas: Argerich/Kremer, Ashkenazy/Perlman, Grumiaux/Haskil, Szeryng/Haebler, Mutter/Orkis, Dumay/Pires, Pamela Frank/Claude Frank and others - each with their own style, color and insight. For a dazzling and spontaneous-sounding performance, Argerich/Kremer get high marks on a nice DG Beethoven Edition set which includes some great in-depth liner notes. Then, the romantic master, Perlman teams with Ashkenazy to give some of the most energetic, bold and satisfying readings - with that penetrating tone and showman style that is classic Perlman. Mutter and Orkis take a more daring, adventurous and romantic approach in their live 1998 recordings on tour. And so on.

But, listening to the performances of Oistrakh/Obirin, you hear a different take on these violin sonatas - one of more serenity, lyricism and really gentleness. What is notable about these readings is a consistent pace and more graceful tone to the music overall, conspicuosly lacking the more dramatic shifts in tempo and dynamics of other readings or that which one would nonrmally expect from Beethoven. Not to say this team does not fire it up in the scherzos and fast movements, but it is rarely done in an overly dramatic way or for effect. Also immediately heard is the ever-so beautiful and sweet tone of legendary violinist David Oistrakh which conveys a more tender side of Beethoven especially in the slower movements. Perhaps this duo's tonally-sensitive readings helps us remember that Beethoven also had a really gentle, loving inner nature and was equally adept at poinant lyricism as well as banging on the lower register of the keyboard. The tempos are overall a little slower, but highly poetic. Occassionally in some of the adagios, the tempo is so slow that forward progression seems to cease. But, this is the only minor drawback I see to this set and it depends on what nuances attracts you to the music. The sound quality is very good and completely enjoyable but not perfect given the 1962 recording date. Rightfully, ClassicsToday rated this set 8/10 for sound quality, but then gave it a top 10/10 for the Artistry category. Also on the positive side is its low price for a quality set of all 10 of the violin sonatas - some $20 lower than some others.

But, if I were to pick one complete set, my lean would be to either Kremer/Argerich (on DG's Beethoven Series) or Claude Frank/Pamela Frank, both who I think best bring out the passionate side of Beethoven but without losing the songful, tender side in the famous slow movements. The Franks' set possess tremendous musicality and is offered at a really super budget price - a suprizingly exceptional recording obscured by the greater giants. But the set that takes first place for sheer beauty of tone and lyricism is this one by Oistrakh/Obinin. And while they may lack a little of the fire and propulsion that is classic mid-late Beethoven`in the later sonatas, their set is probably the most admirable one if you lean more towards more the subtle and sublime. Perhaps Penguin Guide best sums up the story here: "The 1962 versions by Oistrakh and Obirin are also performances to treasure. There is a relaxed joy in the music-making and an almost effortless lyricism and an infectious sparkle. Some might feel a lack of inner tension, but it is a beautiful sound in every other aspect."

Of all the recordings of Beethoven's sonatas for violin and piano, this is the one that gets it right. The tone and clarity are perfect. The balance between the instruments is ideal. I've heard other more recent attempts in which the violin is either too quiet or has too much reverb, or the piano is too loud or too soft, but this recording is an optimal blend of sound and performance. The texture is so immediate and real that you can almost feel the wood and ivory coming through your speakers. Maybe it's because it's a German recording, I don't know, but these artists are Beethoven reincarnated. I imagine that this is how the master would have wanted to hear it. It's simply beautiful.

No one even came close to recording the Beethoven Sonatas as well as Oistrakh and Oborin, the two play as though they were one.

While one can argue that the tempos may stray from Beethoven's markings, I dare you to try to find a recording more full of emotion and warmth and that is the most important element to me. Music means nothing if it has no feeling even if it is perfectly executed. The melodies soar like they should and Beethoven would have no choice but to smile if he heard these performances.

It may be true that some or even many of Oistrakh's recordings do not sound unlike a performance in a tin can, that is simply not the case here.

Fortunately for all of us, this set was reissued very recently.

The artistry on this set is of astonishingly high quality. Oistrakh's playing is sweet and true, and flawless. Oborin's playing is precise and articulate. Their ensemble is outstanding, they are completely in synch, and their attention to dynamics is completely literal and exact. Why not 5 stars then? Because gnawing away at me is the thought that Beethoven requires more intensity, even in the early sonatas. Maybe he requires not as much intensity as you get with the electrifying dynamism of Argerich and Kremer, or even with the unique introspective virtuosity of Mutter and Orkis. Oistrakh and Oborin, for all their musicality and technical perfection, make this music sound like Mozart, like it was written for an 18th-century drawing room. Beethoven may have started out in the 18th century, and his music may have been played in drawing rooms, but for sure, it wasn't written for salons and drawing rooms. As good as this set is--and I'm glad it is now available in digitally remastered format because I think highly of these performers--the music needs something more.

The other reviewer has it right! This is THE ONE! I have more than 8 recordings of Beethoven's sonatas for violin and piano...and out of all of the ones that I have heard this is by far the best.

Others that are of note are the two Kempff has done. The first mono recording in the '50's with Schneiderhan and the later one in the '70's with Menuhin. Both of those are worth hearing (as is any Beethoven that Kempff recorded).

Perlman and Ashkenazy are a good 2nd choice, but it isn't a close 2nd. Oistrakh and Oborin are just that good!!!

Here we don't have musicians trying to compete. They play as if they are linked. The quality of the recording is very warm and in my opinion perfectly balanced.

All in all, this is the only version of Ludwig's sonatas that keep making it to my player.

UPDATE: The recording of Ibragimova and Iberghien is now my top choice!!! See my review of discs on volume 1!!!

I listen to these recordings over and over. Oistrakh is marvelous and Oborin provides a well balanced accompaniment.

I love the violin performance on this recording, but the overall sound quality of the recording causes me to wish for a more modern recording. First, the background hiss (artifact of the 1962 analog recording technology?) is quite annoying during the gentle, quiet passages. I can't stop hearing it, as much as I'd like to focus on the performance. Second, the piano voice seems muffled compared to the amazingly vibrant texture of the violin. I do like ruggedly textured recordings (such as those by the Giardino Armonico) and Oistrakh's violin quality here fits that bill nicely. Sadly, the recording engineers did not capture Oborin's piano nearly so faithfully, unless they closed the piano's case so as not to overshadow the violin. Perhaps the felts on the piano were intentionally tuned to create a duller tone than my ear prefers.

In any case, this is definitely an ADD recording, not a modern DDD recording, and sadly a hiss is audible in the subtle passages.

I'm not a student of classical music, just a fan. With that said, I would definitely recommend this CD, as it's a great introduction to all of the piano and violin sonatas. Previously, I was only familiar with "Spring" and "Kreutzer", played with a little more energy and attitude, but I am very much enjoying this "translation" of those two sonatas, and really revelling in getting to know all of the other sonatas. It's a joy to have them all in one CD set, and being able to hear the progression of composition over the years. I very often go to sleep nights now listening to CD 1.

...this is the one you want. It may have been recorded more than forty years ago but the sound is warm and wonderful. These guys are tremendous, reminding one that Beethoven was essentially writings duets, not sonatas, and the interplay between the two is joyous, complex, and densely shadowed as only a composer of Beethoven's timbre could be.

While I don't have the wealth of musical experience as some of the other reviewers, and while my reasons for buting this disc, as opposed to others (it was the cheapest complete set), I am very please with what I got. The entire disc sounds right. It is in balance.

More generally, some discs make a hash of the notes, choosing to "inturpret" the pace. This does not, it flows at a constant pace.

At the very least, give it a sample listen and compare.