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Delius: Violin Sonatas Import


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Audio CD, Import, June 16, 2009
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1. Sonata for violin & piano in B major, RT viii/3: 1. Allegro con brio
2. Sonata for violin & piano in B major, RT viii/3: 2. Andante molto tranquillo
3. Sonata for violin & piano in B major, RT viii/3: 3. Allegro con moto
4. Sonata for violin & piano No. 1, RT viii/6: 1. With easy movement but not quick - / 2. Slow
5. Sonata for violin & piano No. 1, RT viii/6: 3. With vigour and animation
6. Sonata for violin & piano No. 2, RT viii/9
7. Sonata for violin & piano No. 3, RT viii/10: 1. Slow
8. Sonata for violin & piano No. 3, RT viii/10: 2. Andante scherzando - Meno mosso - Tempo primo
9. Sonata for violin & piano No. 3, RT viii/10: 3. Lento - Con moto

Product Details

  • Performer: Tasmin Little, Piers Lane
  • Composer: Frederick Delius
  • Audio CD (June 16, 2009)
  • Number of Discs: 1
  • Format: Import
  • Label: Sony Bmg Europe
  • ASIN: B00292BYPW
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #341,375 in Music (See Top 100 in Music)

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2 of 2 people found the following review helpful By Dr. Debra Jan Bibel TOP 500 REVIEWER on February 12, 2013
Format: Audio CD Verified Purchase
[Do not be alarmed by the extraordinary bargain price. Often CDs are offered at such a low price because they are remainders; however, sometimes they represent a volume discount because the album is a popular good one. Sony Masterworks has picked up these recordings from another label, BMG Conifer, because they are excellent by both performance and sound.] The four sonatas mark all the stages of Delius's life and thereby give a measure of his art. His span from 1862 to 1934 covers a lot of musical territory and also landscapes, as he spent time in Leipzig, in Florida and France, and in Scandinavia. His familiar pastoral blankets of orchestral strings are not as evident in the sparse setting of violin and piano. The first presentation is from 1892; it is a youthful optimistic romantic classic that Delius set aside (it is Opus Posthumous). Sonata No. 1 was completed in 1914 and Delius was middle aged; the mature work is now more complex and moody, from calm to agitation, from happy to mysterious. It continually holds interest. The next sonata dates from 1923. In the aftermath of The Great War and the lethal pandemic of influenza, the world was in recovery. It was at the cusp of the exuberance and artistic invention of the 1920's, but Delius was now blind and paralyzed. Despite such handicaps, he wrote a confident, sometimes sweet piece that ebbs and flows with touches of melancholy or nostalgia. It has a false stop, to restart with a restatement of initial themes. Begun the following year and reaching completion in 1930, Sonata No. 3 was drafted in fits and starts, with aid of his aide Eric Fenby and wife Jelka. It is a quieter, more contemplative work, whose final lento becomes a suitable exit. The musicians, Tasmin Little, violin, and Peirs Lane, piano, give us sensitive, richly sounding performances.
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2 of 2 people found the following review helpful By DAVID BRYSON VINE VOICE on October 16, 2011
Format: Audio CD
The fourth and last sonata here dies away finally through a perfectly controlled diminuendo into absolute silence. It is effective just as a piece of violin playing, even more so by contrast with the robust endings of the previous sonatas, and by contrast also with the full-bodied tone that Tasmin Little has generally been adopting throughout the recital. To listeners familiar with Delius's biography it cannot but suggest the picture of the composer at the time of its composition, when he was blind and paralysed and keeping the eternal silence at bay with his last musical thoughts, dictated via an amanuensis.

There are four sonatas altogether, providing an hour and a quarter of very fine music that we ought to hear more frequently than the despots of musical broadcasting permit. Three have official numbers, but there is an earlier piece dating from 1892 that would surely be a welcome addition to the standard repertory. It is in a late romantic idiom, hardly recognisable as being by Delius but no tentative beginner's effort and likely to appeal to a wider audience than his later and more characteristic stuff does. By 1892 he was 30, and by that age Schubert, another victim of the affliction that had disabled Delius, had a huge output behind him and less than two years more to live. What we have here from Delius is a vigorous, assured and spontaneous work full of natural and unforced melody, but he had deeper musical ideas to convey, and he imparts some of those in the three sonatas that follow.

The fully characteristic Delius becomes more recognisable with each successive work, their dates being 1905-14, 1923 and 1930. Tasmin Little modifies her style in parallel with the composer's own developing idiom, almost hearty to begin with, but ending with that awesome diminuendo.
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