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Julian Rachlin Plays

Julian Rachlin , Ludwig van Beethoven , Dmitry Shostakovich , Itamar Golan Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)

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Product Details

  • Performer: Itamar Golan
  • Composer: Ludwig van Beethoven, Dmitry Shostakovich
  • Audio CD (June 21, 2005)
  • SPARS Code: DDD
  • Number of Discs: 2
  • Label: Warner Classics
  • ASIN: B0009JM42E
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #346,571 in Music (See Top 100 in Music)

Disc: 1
1. Allegretto, Op.34 No.2
2. Allegretto, Op.34 No.6
3. Allegretto Non Troppo, Op.34 No. 12
4. Moderato, Op.34 No.13
5. Largo, Op.34 No.17
6. Allegretto, Op.34 No.18
7. Andantino, Op.34 No.19
8. Allegretto Poco Moderato, Op.34 No.21
9. Adagio, Op.34 No.22
10. Allegretto Furioso, Op.34 No.20
See all 14 tracks on this disc
Disc: 2
1. I Moderato
2. II Allegretto
3. III Adagio

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Most Helpful Customer Reviews
5.0 out of 5 stars music of the night January 7, 2014
Format:Audio CD
This beautifully recorded and beautifully played program -- on 2 discs for the price of one -- doesn't always make for comfortable listening. The Beethoven Violin Sonata in C-minor (no. 7) has a characteristic early-Beethoven energy, but that energy seems troubled and even angry in places. Only the second movement, as lovely an adagio cantabile as you will ever hear, offers relief -- and emphasizes by contrast the troubled scurryings and outbursts of the other three movements. The dynamic range is wide, and Rachlin and Golan, if anything, play up the contrasts between piano and forte, between delicacy and brutality. It's as strikingly effective a performance of this sonata as I've heard. Rachlin changes to viola for the Shostakovich sonata Op. 147, his last work, completed just weeks before his death in 1975. The last movement he declared to be an elegy for Beethoven, and what it is is a meditation on aspects of the first movement of the "Moonlight" piano sonata. Clearly Shostakovich sensed the melancholy under the limpidity of its first movement, and by dividing the music between the viola and piano and by freely treating some of the thematic material, he gives us a somber but absorbing 19+ minutes of grave and at times disturbing lyricism. The earlier movements are eerie -- like the Beethoven Sonata, a wide dynamic range is employed, but Shostakovich adds pizzicato effects and slithery dissonant viola figures, while beneath it, the piano tolls like a bell, now soft, now loud, rising to an impassioned middle section in both movements, then dying away in figuration recalling the beginnings of the movements. The second movement, a scherzo, is the more energetic of the two, having the character of a witches' dance. Macbeth on the heath came to mind. Read more ›
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