Ludwig van BEETHOVEN (1770-1827)
Complete Violin Sonatas
Sonata No. 1 in D Major, Op. 12/1 (1797/98) [22:25]
Sonata No. 2 in A Major, Op. 12/2 (1797/98) [19:42]
Sonata No. 3 in E-flat Major, Op. 12/3 (1797/98) [21:47]
Sonata No. 4 in A Minor, Op. 23, (1801) [23:25]
Sonata No. 5 in F Major, Op. 24, Spring (1801) [25:22]
Sonata No. 6 in A Major, Op. 30/1 (1803) [26:30]
Sonata No. 7 in C Minor, Op. 30/2 (1803) [27:35]
Sonata No. 8 in G Major, Op. 30/3 (1803) [19:14]
Sonata No. 9 in A Major, Op. 47 Kreutzer (1803) [42:11]
Sonata No. 10 in G Major, Op. 96 (1812) [31:35]
Daishin Kashimoto (violin)
Konstantin Lifschitz (piano)
rec. 14/17 July 2012 (Op. 12/1, Op. 30/1-3), Gabriel Recording Studio,
Stalden, Switzerland; 27/31 December 2012 (Op. 12/2, Op. 23, Op. 47, Op.
96), 13/15 May 2013 (Op. 12/3, Op. 24), Teldex Studio, Berlin, Germany
WARNER CLASSICS 2564 634929 [4 CDs: 63:54 + 48:47 + 73:19 + 73:46]
In the last couple of years I have seen the Berlin Philharmonic in concert
half a dozen times with Daishin Kashimoto as first concertmaster. As a
chamber musician I know Kashimoto far less. For the present set he is
partnered by pianist Konstantin Lifschitz his established accompanist who
has played in concert with a number of the world’s most prestigious
orchestras.
To record Beethoven’s set of ten Violin Sonatas must be a
pinnacle in the career of any chamber performer. Kashimoto, a London-born
Japanese national and Lifschitz a native of Kharkov in former Soviet Union
(now the Ukraine) have clearly risen to the considerable challenges that
these works provide. They are talented artists and what we hear certainly
feels as if the music of Beethoven is running through their veins. Their
unaffected playing is no stranger to sensitivity coupled with a judicious
degree of boldness. It’s clear that the duo is sharply focussed on blending
accuracy and expression to the character of the music.
Dedicated to his tutor Antonio Salieri the Op. 12 set of three violin
sonatas published in 1799 is a product of Beethoven’s late twenties. I
especially enjoyed the three movement Sonata No. 2 with the
exuberant playing in the opening Allegro vivace conveying a
satisfyingly optimistic disposition. Serious and precise, the Andante,
più tosto allegretto is given an intensely contemplative and almost
devotional quality. To conclude, the captivating minuet-like
Finale: Allegro piacevole is performed with the most
appealing expression and just exudes flawless sophistication.
Written about the time that Beethoven was beginning to experience
disturbing signs of deafness, comes the radiant and spirited four movement
Sonata No. 5 known as the ‘Spring’. In the assured hands
of Kashimoto and Lifschitz the opening Allegro verges on the witty
and glows quite radiantly. With such feather-like playing the delicate
Adagio molto espressivo comes close to the temperament of
a lullaby. I love the mischievous feel the duo give to the Scherzo
and the Rondo: Finale conveys a degree of tension and
agitation although I really wanted greater intensity.
Composed in 1803 approximately between the Second and Third Symphonies is
the most famous of all the sonatas: the immense and majestic Sonata No.
9, Op. 47 known as the ‘Kreutzer’. The performance here is a
joy from the first to last. Playing of flexibility and unyielding energy
marks the mighty opening Adagio sostenuto. Here the poetic passages
are played with tenderness and by contrast the Presto section just
snarls with impetuosity. There is refinement to the duo’s interpretation of
the substantial Andante con variazioni but it remains affectionate
and gracious too. I was struck by the players’ unwavering energy bestowed on
the Presto: Finale. It feels daringly unruly.
The lovely four movement Sonata No. 10, Op. 96 was written in
1812, the year that saw the completion of the Seventh and Eighth Symphonies.
A personal favourite, this warm and amicable scaore would be far better
known had it been allocated a name by its publisher. With only occasional
interruptions to its intimacy the Allegro moderato makes for an
affectionate and calming opening. Kashimoto and Lifschitz give an enchanting
tempered quality to the Adagio espressivo suggesting a musical
love-letter. Marked by its extreme brevity, the bucolic Scherzo
feels like a fleet-footed folk-dance. The high-spirited Finale
marked Poco allegretto is full of contrasting ideas and high
optimism. With a final burst the concluding section is rapidly played by the
duo with remarkable vitality yet always remaining in control.
Competition in the catalogues for recordings of the complete Beethoven
Violin Sonatas is extremely fierce. This set can stand alongside
any of the more established recordings in my collection. The Virgin Classics
release from Renaud Capuçon and Frank Braley is the one I play most often.
Recorded in 2009 at La Chaux de Fonds, Switzerland Capuçon and Braley play
compellingly with an elevated level of artistry. I have also long admired
the spirited and robust performances that Pinchas Zukerman and Daniel
Barenboim provide in their 1971/73 recording made in Berlin and London on
EMI Classics. In addition I remain fond of the exciting and spontaneous
readings of Gidon Kremer and Martha Argerich. These were released in 1995 on
Deutsche Grammophon. For their impeccable unity and directness there are
excellent performances to be heard from Itzhak Perlman and Vladimir
Ashkenazy released in 1998 on Decca. A lesser known set that deserves praise
is from Corey Cerovsek and Paavali Jumppanen. These consistently satisfying
performances are marked by a selfless dedication and were recorded in 2006
at La Chaux de Fonds, Switzerland on Claves. I also hear favourable reports
of the recordings from Wolfgang Schneiderhan and Carl Seemann on Deutsche
Grammophon; Henryk Szeryng and Ingrid Haebler on Philips Duo and also
Augustin Dumay and Maria João Pires on Deutsche Grammophon.
In the overall sound-picture on this Warner Classics disc Kashimoto feels
slightly recessed behind Lifschitz’s piano. The ear soon becomes accustomed
to this and it doesn’t present too much of a problem. Recorded across two
studio locations in Stalden, Switzerland and Berlin the cool sound is
remarkably clear. This is a decidedly impressive set and a credit to the
players’ artistry. They evince a remarkable level of engagement with this
wonderful music.
Michael Cookson
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