Brahms: Violin Sonatas Nos. 1-3 (complete)

Wigmore Hall Live: WHLIVE0050

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Brahms: Violin Sonatas Nos. 1-3 (complete)

Catalogue No:

WHLIVE0050

Discs:

1

Release date:

2nd April 2012

Barcode:

5065000924522

Medium:

CD
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Brahms: Violin Sonatas Nos. 1-3 (complete)


Anthony Marwood (violin) & Aleksandar Madžar (piano)

CD

$11.50

In stock - usually despatched within 1 working day.

British violinist Anthony Marwood, admired by audiences and critics around the globe for his exceptional artistry and passionate performances, is joined by the celebrated Serbian pianist Aleksandar Madžar for this wonderful recording of the three Brahms Violin Sonatas.

Composed between 1878 and 1888, the deeply expressive violin sonatas are famed for glorious, free-soaring melodies, as Brahms carefully balances Classical refinement with Romantic lyricism. Exploring these supremely beautiful works with fresh insight; Marwood and Madžar unfold the emotional contours with rich tone and close musicianship through this intimate recording.

BBC Music Magazine

July 2012

*****

“Especially impressive is their absolute unanimity of approach: the sense they convey that they are not merely equal partners but equally important voices in Brahms's polyphonic textures. The breadth of their phrasing, the constant search for fluidity...is also very striking...Marwood and Madzar are so good I'm tempted to make them the new benchmark among contemporary recordings.”

Classical Music

19th May 2012

*****

“this is duo playing of the highest order...[Marwood's] musicianship and panache will be familiar to many. We don't hear enough of Madzar in the UK: there are few to match him in terms of technique and interpretation, and he here proves a terrific chamber music partner.”

Gramophone Magazine

September 2012

“Distinct pianism and etched string attack may not be all that these sonatas require. Marwood doesn't often relax into the music...Nevertheless, the impassioned last sonata finds Marwood and Madzar in more relenting mood, willing to modify hitherto guarded responses to conventions of performance that Brahms took for granted.”

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