Wilhelm FURTWÄNGLER (1886-1954)
Violin Sonata No.2 in D major, WF 115 (1938-39) [42:17]
Ludwig van BEETHOVEN (1770-1827)
Violin Sonata No.8 in G major, Op. 30/3 (1801-02) [18:17]
Sophie Moser (violin); Katja Huhn (piano)
rec. 23-25 October 2008, Augustusplatz, MDR, Leipzig, Germany (Furtwängler);
30 December 2005, Studio 2, Bayerischen Rundfunks, Munich
German with English translation.
HÄNSSLER PROFIL PH11023 [60:34]
Sophie Moser and Katja Huhn have chosen an absorbing programme of two contrasting
violin sonatas. Firstly there’s a rarely-heard score byf Wilhelm Furtwängler:
his difficult and serious Second Sonata.The coupling is Beethoven’s
optimistic Sonata No. 8 in G major,much better known but often
overshadowed by the composer’s more famous Spring and Kreutzer
sonatas.
The first thing that I noticed was the attractive presentation. Full of interesting
information the booklet includes fascinating reproductions of a 1940 recital
programme of Furtwängler’s D major Sonata with descriptions
in German.
It may come as a surprise to some readers that in addition to the demands
of a heavy conducting schedule Furtwängler found time to compose. Furtwängler
was fifty-two when he completed his Violin Sonata No.2 in 1939. Cast
in three movements it is a long work lasting over forty minutes. At times
it reminded me of the chamber music of Reger and Hindemith. I found the sound
quality excellent being especially clear and well balanced.
Marked Allegro moderato the opening movement has a sunny disposition
with a tinge of mystery. Soon developing into a fierce storm the forceful
music surges over the listener like a torrent. Much of Moser’s violin
part is for its highest register. Thankfully Huhn’s piano is never allowed
to dominate. An uneasy calm pervades the Lento. Although the piano
textures are heavy the lyricism is predominantly passionate. There are passages
of greater weight and angst but this soon diminishes. A curious short passage
for pizzicato at 8:53-9:08 is impassive and characterless. Moser and
Huhn drive the pace of the Finale: Presto like a gale-force
wind. Here Furtwängler’s writing encompasses dramatic emotional
contrasts with extremely wide dynamics. Short passages of relative calm provide
only a brief respite from the near frenetic writing. Rather abruptly the score
ends with a sudden outburst of energy.
Beethoven’s Violin Sonata No. 8,sometimes known as the
‘little G major’,is the last in a set of three sonatas.
Published as op. 30 in Vienna in 1803 the set bears a dedication to the monarch
Tsar Alexander I of Russia. With regard to the sound quality I found Huhn’s
piano placed too far forward in the balance which creates an unappealing bright
metallic resonance when played with force.
The playing here is assured with plenty of zest in the uplifting and joyous
opening Allegro assai. Contrasting starkly with the outer movements
the central movement is more relaxed and features light Viennese rhythms.
A temperament of childlike simplicity makes few demands on the listener. Briskly
taken by Moser and Huhn the lyrical Finale: Allegro vivace just
bounces along with playing that feels fresh and buoyant.
The Beethoven and Furtwängler violin sonatas are an uncommon paring on
disc. Furtwängler’s D major score is well worth hearing and makes
this a fascinating release.
Michael Cookson
An uncommon pairing. Well worth hearing. A fascinating release.