RECORDING OF THE MONTH
Ludwig van BEETHOVEN (1770-1827)
Violin Sonata no.9 in A major Op.47 'Kreutzer' [37:45]
Violin Sonata no.10 in G major Op.96 [27:28]
Edward Dusinberre (violin)
David Korevaar (piano)
rec. 6-9 August 2009, Wyastone Concert Hall, Wye Valley, UK. Stereo. DDD
DECCA 476 3898 [65:13]
This is a great recording. Beethoven's Violin Sonatas have been cursed in
recent years with more than their share of mediocre recordings, but this certainly
is not one them. The performance is excellent, both technically precise and
interpretively insightful, and the recording quality is the best you'll find
anywhere short of SACD.
Edward Dusinberre is the leader of the Takács Quartet, and while his colleagues
are no doubt in a similar league, this solo outing demonstrates just why that
group has the superlative reputation it does. His playing here is varied,
richly felt, emotive, expansive ... there is really very little you could
want from him that he does not do at some point on the disc. Given the recent
trend for period performance recordings of Beethoven's chamber music, it is
probably worth pointing out that this is in a more traditional vein. It's
Romantic Beethoven, which some may object to in principle, especially for
the middle period Kreutzer, but Dusinberre is not arguing a case here,
rather he is demonstrating the validity of his interpretation, and few could
argue with the results.
I love the way that both players are able continually to come up with surprises,
especially in such well known works. Take, for example, the transition from
the introduction to the exposition about a minute and a half into the first
movement of the Kreutzer. The introduction itself is performed with
such precise, studied control that it lulls you into thinking the whole movement
is going to continue at that pace. But then the main theme just erupts out
on nowhere, bringing with it that sense bubbling energy and ebullient joy.
There is no trickery going on here, and nothing is really added that is not
already in the music, but the players are able to demonstrate that beneath
Beethoven's imposing furrowed-brow reputation of genius, his greatest music
is founded on simple pleasures.
The 10th Sonata Op.96 is a similar case. If anything, this performance
is even more direct and unaffected. It is a more straightforward work, I think,
so this approach is entirely appropriate. But here again the players are able
to take even the most seasoned (and cynical?) listener by surprise. The coda
of the first movement has a short figure repeated over and over until a final
iteration at a louder dynamic. When that last one comes, it is as if the players
themselves have been taken by surprise. But don't take that for naivety; there
are plenty of episodes which have clearly been meticulously prepared, with
the dynamics and phrasing articulating impressively large-scale thinking.
The development of the first movement of the Kreutzer is all based
on long crescendos and diminuendos, with various permutations of the main
theme going on over the top. The players achieve an impressive juggling act
in maintaining the drama of the former while laying out the almost mathematical
logic of the latter.
The sound quality is excellent throughout, the robustness of the violin tone
elegantly matched by the similarly imposing piano sound. There is a real immediacy
to the sound, which really benefits both players. The varied timbres and dynamics
of the piano are particularly impressive, especially in combination with the
finely judged balance, which allows all that piano detail to act as a backdrop
to the violin without ever threatening to overpower.
Are Dusinberre and Korevaar planning a full Beethoven Sonata cycle? Let's
hope so, because if they can maintain this phenomenal standard, it could easily
become the benchmark for a generation to come.
Gavin Dixon
Could easily become the benchmark for a generation to come.