Beethoven: Violin Sonata No. 4 in A minor, Op. 23

“The partnership here of Ibragimova and Tiberghien is a rare meeting of minds. Both understand that each has an equal part to play in this music. Both make sounds that are unfailingly beautiful and, equally important, clean and clear.” Sunday Times, 25th April 2010 ****

“Spontaneous, impulsive, young and fresh, the violinist Ibragimova and the pianist Tiberghien make an electrifying partnership...the pair’s creativity in ducking and weaving, shaping phrases, surging with lyricism, brings multiple pleasures.” The Times, 8th May 2010 ****

“This is very special...For all the thought that has clearly gone into [Ibragimova's] interpretations, nothing sounds contrived or overcultivated. Cédric Tiberghien is an ideal partner...his alert responsiveness to the finer nuances of Ibragimova's playing is one of the features that makes these performances so magnificently alive.” BBC Music Magazine, July 2010 *****

“These performances are brimful of life; there's a sense of joy and freedom...[Ibragimova and Tiberghien] have clearly thought about every phrase, every expression mark, with such detailed individuality as to banish routine performance...the sense of occasion, of living the music as it unfolds, is very strong.” Gramophone Magazine, August 2010

“Fortunately, the players don’t seem in the least bit fazed by the accumulated layers of musical history, and they give admirably dramatic performances, with all the urgency and passion Beethoven’s two minor-key violin sonatas demand.” BBC Music Magazine, August 2006 *****

“Beethoven’s fiery dramatics sound more audacious than ever…Fantastic playing, and a fascinating release.” The Times

“The novel feature here is that Daniel Sepec's violin is one of a set presented to Beethoven in 1800 by Prince Lichnowsky. Made in Salzburg around 1700 and restored to its original condition, its whereabouts were unknown until 10 years ago, when it was presented to the Beethoven-Haus in Bonn. In Sepec's hands it has a sweet, expressive tone, an important element in these remarkably imaginative, stimulating performances. Andreas Staier plays a Graf pianoforte from the 1820s, of a type Beethoven was familiar with, though not at the time he wrote these sonatas. But if it has a smoother sound and wider dynamic range than earlier instruments, it's still able to present Beethoven's keyboard textures with perfect clarity. Staier's enthusiastic approach occasionally swamps the violin – but one can easily imagine the young Beethoven doing the same.
Staier and Sepec take us a long way beyond the concept of historically informed playing as simply avoiding anachronism. In the first movement of Sonata No 7, Sepec introduces expressive portamenti, as well as the kind of rubato where he momentarily lags behind the piano's rhythm. In the following Adagio, Staier makes highly expressive use of spread chords, and throughout the CD there are instances of subtle tempo variation and added dynamics, for example the beautiful shaping of the main theme in No 4's second movement. In the Variations, Staier makes full use of the Graf's range of sonorities, including a remarkable percussive surprise! Yet these 'authentic' features all stem from a clear view of the music's expressive qualities and result in performances of unusual verve and spontaneity.” Gramophone Classical Music Guide, 2010

“…performances of unusual verve and spontaneity.” Gramophone Magazine, October 2006

“Here's an unusual… project. In… listening to these two discs (same programme, different instruments) I was struck by the similarity of the interpretations, despite some minor differences concerning vibrato and the use of the sustaining pedal. A comparison between the two discs... is highly illuminating. The modern instruments have some clear advantages - the piano's greater sustaining power and wider dynamic range, and smoother, more easily controllable tone in the violin's high register. But most of the time I prefer the old instruments' the easier blend of the violin and piano, the greater clarity, the more colourful range of sonorities.” Gramophone Magazine, August 2009

“[On the original 1952 LP release] Fuchs and Balsam make a magnificent team… Both instrumentalists scorn effects of a superficial nature and probe directly to the music’s bone.These are strong, powerful, thoughtful performances that have the added virtue of being technically impeccable”” New York Times