Faure: Violin Sonatas Op.13 & Op.108/Franck: Violin Sonata in a [Import]

Track Listings

1. Allegro Molto

2. Andante

3. Allegro Vivo

4. Allegro Quasi Presto

5. Allegro Non Troppo

6. Andante

7. Finale (Allegro Non Troppo)

8. Allegretto Ben Moderato

9. Allegro - Quasi Lento - Tempo I Allegro

10. Recitativo - Fantasia (Ben Moderato - Largamente - Molto Vivace)

11. Allegretto Poco Mosso

Customer Reviews:

TRACK LISTING.......2005-12-04

TRACKS:
1. Massenet: 'Meditation' from Thais
2. Faure: I. Allegro molto (Sonata No. 1 in A Major for Violin and Piano, Op. 13)
3. Faure: Andante
4. Faure: Allegro vivo
5. Faure: Allegro quasi presto
6. Saint-Saens: Havanaise, Op. 83
7. Franck: I. Allegretto ben moderato (Sonata in A Major for Violin and Piano)
8. Franck: Allegro
9. Franck: Recitativo - Fanatasia: Ben moderato
10. Franck: Allegretto poco mosso

Chausson: Concert; Ravel: Piano Trio; Fauré, Debussy, Franck: Violin Sonatas

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French Romantic Chamber Music

Chausson: Concert; Ravel: Piano Trio; Fauré, Debussy, Franck: Violin Sonatas
Joshua Bell , Ernest Chausson , Claude Debussy , Gabriel Faure , Cesar Franck , Maurice Ravel , Jean-Yves Thibaudet , and Steven Isserlis
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0007XZUFK
Release Date: 2005-05-10

Tracks:

I. Allegro Molto
II. Andante
III. Scherzo: Allegro Vivo
IV. Finale: Allegro Quasi Presto
I. Allegro Vivo
II. Intermede: Fantasque Et Leger
III. Finale: Tres Anime
I. Allegretto Ben Moderato
II. Allegro
III. Recitativo-Fantasia: Ben Moderato
IV. Allegretto Poco Mosso

Tracks:

I. Decide
II. Sicilienne
III. Grave
IV. Tres Anime
I. Modere
II. Pantoum: Assez Vif
III. Passacaille: Tres Large
IV. Finale: Anime

Customer Reviews:

French Romantic Chamber Music.......2006-03-01

The chamber music literature of the French Romantic era is exceedingly rich and rewarding - even if its gems were not so well known through history. This two-CD set showcases five prominent "French Romantic" composers and some of their more delectable works that frequented the aristocratic salons of 19th-century Paris. There was also a strong, interconnected history among these French composers, and many older composers were teachers of the younger generation. The eldest, Cesar Franck [1822-1890] of Flemish birth, was dearly loved by his students which included Chausson [1855-1899]. Chausson later became one of Debussy's [1862-1918] only mentors - quite a compliment given Debussy's fierce independance. Towards the end of the century, Maurice Ravel [1875-1937] studied under Gabriel Faure [1845-1924] at the Paris Conservatoire (where Franck also taught earlier). As composers, many were "late bloomers" who wrote their best works late in life. Franck and Faure are the oldest closest to classicism while the newer generation of Ravel and Debussy developed a completely new language of form and harmonies that paved the way to the "modern era" after the turn of the century.

Each composer was devoted to restoring prominance in French instrumental music which was greatly overshadowed by the fashionable Parisian operas. Franck's Violin Sonata in A-major became his most-loved chamber work - as was Faure's not-so-different Violin Sonata (also in A-major). Both are mainstays in the repertoire today. Yet, during the composers' lifetimes, Faure's and Franck's music was barely known outside France. Perhaps one reason was that (like Ravel) they were quiet, unassuming gentlemen - unlike self-promoting contemporaries like Richard Wagner. Yet, with Chausson, Massenet, d'Indy and later Saint-Saens, they all wrote sensuous, chromatically rich and well-conceived music that was uniquely expressive and innovative. Ravel's Trio is just one of his fascinating, small-scale pieces that has enjoyed great popularity, where the Debussy Trio is an early work rich in sonority and melody.

Into his third decade as a performer now, Joshua Bell usually needs no introduction. His talent is top - technically, lyrically, artistically and tonally - even if some dislike the marketing machine he submitted to. Bell particularly excels in the Romantic repertoire with his deep emotivity and tonal beauty (especially since acquiring the stunningly beautiful and very expensive "Gibson" Stradivarius around 2001). These pieces with French pianist Thibaudet were recorded in 1989/1990 and were re-released in 2005 in this budget, two-CD set.

I think the strength of this set is the program - really excellent pieces and some of the creme. Among these, the Ravel Trio (and perhaps the Chausson Concert) are the stars of the set. Joining the duo on Ravel's Trio is the superb British Cellist, Stephen Isserlis, with the legendary Hungarian Takacs Quartet for the Chausson Concert (a rather unique arrangement that comes off quite nicely). This trio of top-flight musicians brings out Ravel's fascinating tonal nuances and textures with a marvelous touch that makes it a competitive choice among many. The Chausson piece is delectable - a work bathed in French romantic beauty.

As for Thidbaudet's pianism, one would be hard-pressed to fault anything in his support of Bell and unto his own virtuosity. In particular, he shows some crisp and dynamic passage work in the outer movements of Chausson's Concert. However, with Bell on some other pieces - notably the Faure Sonata in A major - his violin sounds unusually "flat" at times to me. But, I think it has more to do with the Decca sound engineering than Bell's ability to shape the music. His violin seems projected too close and without sufficient "breathing space" for the tonal nuances and secondary reverberations to create a fuller, richer sound. This seems more noticable on the first disc (Faure, Franck, Debussy) but may not be apparent just listening to this disc (which sounds clean and crisp) without another reference point. But when compared to other recordings, this Decca recording sounded "stark" to me and lacking "colour." However, once you settle in, such sound nuances for most should not be that big an issue. So, overall, this is a really great collection of French Romantic chamber music - but not really definitive as to the performances or recorded sound quality. Compositions - 5; Performance - 4; Sound Quality - 3.5. Other highly recommended recordings for this era of French chamber music featured here include recordings from Kang/Devoyan (Naxos), Chung/Lupu (Decca), The Florestan Trio (Hyperion) and Gil Shaham's lovely Faure albumn (Vanguard Classics).

Faure: Violin Sonatas Op. 13 & Op. 108/Frank

Average customer rating:

Supreme aristocracy; technical panache
Faure and Grumiaux
Astonishing beauty
A treasure to be cherished
Music of incredible beauty and mystery

Faure: Violin Sonatas Op. 13 & Op. 108/Frank
Grumiaux , Crossley , and Sebok
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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ASIN: B000024GWX
Release Date: 1990-02-23

Tracks:

Allegro Molto
Andante
Allegro Vivo
Allegro Quasi Presto
Allegro Non Troppo
Andante
Finale (Allegro Non Troppo)
Allegretto Ben Moderato
Allegro - Quasi Lento - Tempo I Allegro
Recitativo - Fantasia (Ben Moderato - Largamente - Molto Vivace)
Allegretto Poco Mosso

Customer Reviews:

Supreme aristocracy; technical panache .......2006-07-23

The chamber music of Gabriel Faure seems to have faded into oblivion. As a matter of fact just a few violinists have dared his works; it's absolutely regretful because of the fact Faure is a musician who has so much to say, despite all the prejudices around. This is an utter shame

Faure must be listened and considered far beyond the well known triviality spirit lived in France during the last quarter of the Century, where the Belle Époque literally flooded all the imaginable spaces and seriously permeated an entire generation. Somehow he was born in the middle of a transition signed by two visible opposite tendencies; the beauty fragrances of the last thuds of a dying Romanticism and the emerging Impressionism movement; he was stranded and even trapped between these two artistic currents.

These two Violin Sonatas represent to my mind, two profuse evidences about the originality and talent of Gabriel Faure, whose time has not come for him yet. Nevertheless it's time for you to get close around this notable and sensitive composer.

It's useless to state these performances could not be in better hands. Grumiaux enriches and improves still more this emblematic lyrical pages with his musical partner, Paul Crossley, who was in the seventies and eighties an untiring herald of Michael Tippet `s piano music.

Highly recommended.

Faure and Grumiaux.......2006-02-23

An old style performance, with dashing Gallic flair and elan. More recent performances, most impressively from Gil Shahan, have not replaced the authority and understanding that these great old French stars bring to this beautiful music.
Paul Chihara
Professor of Music, UCLA

Astonishing beauty.......2003-11-29

This recording of the Franck Sonata with Grumiaux and Crosley is definitely better than the one with Hadju, released on Philips DUO classics. Crossley's fine piano touch creates amazing atmospheres especially in the poetic Faure Sonata No. 1. I have this in an LP and has always been one of my favorites. Grumiaux's warm tone and honest and thoughtful playing will always make him one of the greatest of all times.

A treasure to be cherished.......2003-01-15

I can not but echo the previous reviewer's words: beauty and mystery truly come in spades in this Philips Musica da Camera issue of the Fauré and Franck sonatas, recorded beautifully in 1977 and 1978 respectively. In both the Fauré sonatas, Arthur Grumiaux is backed by Paul Crossley; in the Franck sonata the accompanist is Gyorgy Sebok (this not being specified in the product details). That said, it would be best to let the music speak for itself; however, as yet there are no audio snippets available so maybe a few words on the music are in order here.

First of all, the two Fauré sonatas. Grumiaux had an impeccable sense of line and astonishing tonal control, and they are demonstrated at their best in these Fauré interpretations. The same can be said of Crossley's piano playing - from the gossamer intro of the first sonata and the quietly pulsating melodic curves of the second sonata's Andante to the glittering quicksilver textures of the second sonata's finale, he manages to find just the right amount of expressiveness and tonal shading to complement Grumiaux's masterly violin playing. The second sonata in particular, one of Fauré's late works, comes across as a seamless flow of musical bliss in the hands of these performers; at times almost meditatively peaceful and contemplative, at times mercurial and ecstatic (particularly so in the second sonata's finale), they remain a treasure to be cherished.

As for the Franck sonata, Sebok may at first sound a bit less flexible than Crossley, but then again, this is just a minor quibble as the Franck sonata (at least to my tastes) seems to require a different approach than Fauré - a bit more violent if that's the appropriate word. And indeed, this suits the music rather well as Grumiaux too sounds as if he's putting a bit more edge and anger to his playing. This is not to say that the Franck sonata is given a coarse treatment here, on the contrary. Compared with Fauré, however, Franck's sonata is inherently a shade coarser but none the less beautiful and appealing for that; the work has a tendency to grow on you with each listen.

Taken together, these Fauré and Franck sonatas make an interesting and generous coupling - and what's more, it is very hard to imagine this music presented more beautifully than on this disc. It runs up to almost 73 minutes of sheer luxury, and can be warmly recommended to anyone hooked on Grumiaux or Fauré -or French chamber music in general, for that matter. This is an absolute gem.

Music of incredible beauty and mystery.......2002-12-23

Gabriel Faure's first sonata is my third favorite violin sonata ever written, a likely candidate for the most under-rated violin sonata of all time.

The piece starts with a melody so pure, lyrical and full of beauty that the music is simply impossible not to completely fall in love with. I find the piano and violin parts equally interesting, the piano accompaniment uses alot of accidentals, alerted scales, and high amounts of chromaticism and augmented intervals giving the music a floating, dream-like quality with a sense of mystery.

Fuare was himself a pupil of Camille Saint-Saens and his pupils included Enescu and Ravel. For me, those composers were the core of the French impressionists. In a way, they invented their own style of music much the same way Monet and Renior had their own style of painting.

Arthur Grumiaux is an incredible violinist who gets such a unique tone from his Guadagnini and he plays with such beauty and warmth that it will astound you. Yet again Mr. Grumiaux shows his ability to speak with every note and draw you in as a listener from his fully-inspired playing. His timing is impeccable and phrasing is emotional.

Customer Reviews:

ALWAYS FAVORITES.......2007-04-10

Faure's two violin Sonatas have been favorites of mine for a long time. Therefore, I own many recordings of the works. This recording on the budget label Helios certainly goes to the top of my favorite list. Although previously unknown to me Tomes and Osostowicz play these two life spanning works by Faure very beautifully!

I love this recording. The sound is so rich and so very warm. Plus the performances are marvelous. I'm so very glad that I added it to my collection

The Transcendent Second Sonata.......2006-10-02

Faure's two violin sonatas come from opposite ends of his career: Sonata no. 1 in A, Opus 13, was written in the 1860's, while Sonata no. 2 in E minor, Opus 108 and published in 1917, was a fruit of the composer's old age. For all its popularity, the First Sonata remains within the confines of the Victorian parlor; its wispy themes and plush harmonies are (to my mind) of no great depth or individuality. The lesser-known Second Sonata opens up new vistas, and is to my ears a far more interesting piece. Here the thematic material and Faure's development of is of the utmost subtlety and elusiveness. The ethereal harmonic language takes late-romantic chromaticism to its outer limits. The high point of this piece is the second-movement andante, which recalls the spiritual aura of the Faure Requiem. Both outer movements end with transcendent perorations in E major that bring unity to the composition. A. Dagan's comments below on Faure vis-a-vis his peers are right on the nose: among 19th-century composers, Faure seems to have done a remarkable job of avoiding romantic cliches. His thematic material possesses a Grecian poise and nobility, and his music has a classical purity as well as the sense of logical inevitability that distinguishes all first-rank composers. He forged a style that was rooted in past masters and was also conducive to future development.

Although the musicians are not well-known, their performances are excellent. The violinist's playing is characterized by silvery pianissimo playing and a judicious and expressive use of portamento; purity, restraint, and a resistance to over-romanticizing the music are the keynotes of this interpretation. The pianist keeps her cascading ostinati in the background, yet also knows how to insinuate important material when appropriate.

wonderful recording.......2002-09-02

great recording of these two lifetime-spanning compositions by Faure.

two different works from neglected composer.......2001-12-16

Gabriel Faure is a composer who has long been ignored outside of France. This is quite odd, since he is probably the best composer France possessed between Berlioz and Debussy, outshining, in my opinion, Franck, Chausson, Saint-Saens, Gounod, d'Indy, Lalo, and many others. The reason for this is twofold: 1)he worked primarily in small forms, in contrast to the grand utterances of contemporaries Bruckner, Mahler, and Wagner, and 2) he was far more subtle in his romanticism, never letting himself take part in the bombastic sentimentality of his peers. With these two facts taken into account, Faure was a master in two respects, he was both a master of form as well as an deep and even austere musician.
The two violin sonatas were composed by Faure in the opposite ends of his life, and they portray two very different sides of this wonderful composer. The first sonata, in the happy key of A-major, is quite lovely and very calm, despite occasional shades of unrest. It opens with a beautiful, leisurely 21 bar cantelina. This, as well as the second and fourth movements (the 2nd is in d-minor)are all in sonata form. The scherzo is Mendelsohnian, while the trio is a little Schumannesque. Despite these echoes of olde composers, however, Faure's personal melodic and harmonic style come through in every bar, noticeably in his use of modal scales. This is evident until the last movement, whose main theme oscillates around C-sharp in a whimsical but hypnotic manner.
The second violin sonata (in e-minor), was written 40 years later when Faure was deaf, and is much more of a puzzle (it is similar in this respect to his late nocturnes). The melodies are less clear, the harmonies sharper, and there is far greater use of counterpoint. Despite the fact that it is harder to approach, however, this is probably the greater of the two violin sonatas. The first movement has three themes, which progress from e-minor to G-major (the first is menacing, the second is very chromatic an syncopated, and the third is more lyrical). The form he uses is extremely odd: he repeats the themes four times, the second is like a modified exposition and the second two are like varied recapitulations. (Wigmore, 1999) The A-major Andante is wonderfully serene, with a second theme that hovers between major and minor. The third movement, in E-major, is very graceful, until the first theme of the first movement returns. This gives way to the lyrical theme of the first movement, which ends the work in ecstasy. Although this work is difficult to approach, it is extremely rewarding.
These two sonatas are very well played by Tomes and Osostowicz, and the program notes are very helpful in understanding the pieces.

Average customer rating:

Full-blooded romanticism

Fauré: Violin Sonatas Nos. 1 & 2

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000140A
Release Date: 1995-11-21

Tracks:

Violin Sonata No. 1 In A Major, Op.13: Allegro molto
Violin Sonata No. 1 In A Major, Op.13: Andante
Violin Sonata No. 1 In A Major, Op.13: Allegro vivo
Violin Sonata No. 1 In A Major, Op.13: Allegro quasi presto
Berceuse, Op.16
Romance In B Flat Major, Op.28
Andante In B Flat Major, Op.75
Violin Sonata No. 2 In E Minor, Op.108: Allegro non troppo
Violin Sonata No. 2 In E Minor, Op.108: Andante
Violin Sonata No. 2 In E Minor, Op.108: Final: Allego non troppo

Customer Reviews:

Full-blooded romanticism.......2006-02-24

Among Faure's piano chamber music, the Piano Quartets, Trio and First Violin Sonata (A major) are the most popular, well-crafted and rewarding works. The later, second sonata takes more listening to warm to it as it is less extraverted in its melodies and appeal. In his old age, Faure evolved as a composer and his music became less effortlessly transparent and refreshing and more austere and intellectual - and sometimes more puzzling. This is seen comparing the earlier A-major Sonata Op. 13 to the very late E-minor Sonata Op. 108.

There are several fine choices for the two Sonatas including those by Arthur Grumiaux (Philips), Krysia Osostowicz/Susan Tomes (Helios) and this one featuring Dong-Suk Kang and Pascal Devoyon. All three recordings were rated 3/3 stars in Penguin Guide, so it depends on what nuances capture your emotions. With Grumiaux you can always expect equisite lyricism and beautifully poised playing (on a excellent sounding Philips CD). Tomes and Osostowicz are strong in the romantic repertoire (as a pair or with The Floristan Trio or The Domus Quartet) and one can always count on them for the highest levels of musicianship and sonority. Joshua Bell also recorded the first sonata ("French Chamber Works" on Decca), but I found both his tone and sound environment completely "flat" and uninspiring for such an accomplished violinist.

So, my pick for this music would be this set on Naxos in part for the equally solid playing but also for the additional pieces beyond the two sonatas on this CD (the Berceuse, Romance and Andante). The highlight for most will be clearly the first sonata in A-major, no less for its powerfully driving first movement, wonderous second movement, quicksilver third movement and endearingly passionate forth movement. Mr. Kang brings tremedous energy and more intense expression to opeing and closing movements that I found irresistable in its bewitching power to engage the emotions. His reading here exude a full-throttled "romantic" passion that will be most attractive to those who value such qualities in this piece. In the slower movement perhaps he is not as nuanced and delicate as Grumiaux of Ososowicz when things cool off, but still he exudes a quite attractive and somewhat unique melodic quality nonetheless. Another attractively subdued reading of the A major Sonata (and delectable Faure recital) comes from Gil Shaham (Vanguard Classics) that is worth investigating.

For those who don't connect as much with the more remote second sonata, the three extra pieces on this Naxos release will be a nice "bonus" that brings more dimension into the recital with their more relaxed, lyrical temperament. In particular, the Bercuese Op. 16 and Romance Op. 28 are the most intimate and graceful of the lot which Kang makes sing like an anticipated meeting of lovers. Last, the sound engineering is particularly striking and bold with nothing to cite as deficient - good balance between instruments, clear, optimal spaciousness to create an ideal sound. All-in-all, a great choice for these pieces with some nice "extras." In fact, in a recent Gramophone comparison of recordings of Faure's first Sonata, this Naxos disc took the pride of place. 5 stars.

Average customer rating:

Cello Sonatas
Shauna Rolston , Menahem Pressler , Gabriel Faure , and Cesar Franck
Manufacturer: Summit(Classical)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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Elgar and Saint-Saëns: Cello Concertos

ASIN: B0000038IH
Release Date: 1995-02-08

Tracks:

Allegro Molto
Andante
Allegro Vivo
Allegro Quasi Presto
Allegro Ben Marcato
Allegro
Recitativo-Fantasia (Ben Moderato)
Allegretto Poco Mosso

Average customer rating:

Recorded in the late 1920's
Great French Musicians playing French Music

Franck, Fauré, Debussy: Violin Sonatas

Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006C2PJ
Release Date: 2002-08-06

Customer Reviews:

Recorded in the late 1920's.......2003-07-26

Jacques Thibaud (1880-1953) was a successful soloist and concerto performer best known for his chamber collaborations with Casals and Cortot. This CD contains transfer recordings by Thibaud of violin and piano sonatas by Faure, Debussy and Franck (recorded in 1927 and 1929). The performances are superb, but the original 1920's recording technology is not.

Great French Musicians playing French Music.......2003-04-06

People say Glenn Gould is sometimes a good and sometimes a naughty boy. Is there a good and a naughty Cortot? Not really. When Cortot played chamber music, you can be assured that he is well behaving. But that doesn't mean he is not exciting. To the contrary, he is even more exciting.

If one doesn't take much delight of Heifetz's "coolness" and is looking for something that is more directly evocative, something close to Hassid, perhaps Thibaud is what you're looking for.

Without hearing them, one would still be able to know what music is all about, but probably not the fukk possibilities of what the violin and the piano together can offer, for each one of the musicians had brought out to the full extent of what each of the two instruments are musically capable of and together. It's almost a full orchestra that you hear. Horzowski found Busch/Serkin great. No doubt about it and that is basically the German traditon. Cortot/Thibaud are different but equally as good, if not better especially when it's French music that they are playing-- they're at times even more uplifting than Rachmaninov/Kreisler. They are surprisingly modern in their approach.

After hearing Cortot/Thibaud, one will come to the conclusion that it's absurd and unjustifiable that the Russians should dominate the main stream of both the violin and piano music. One are often tempted to ask what is missing from Elman, Milstein, Mullova or else Richter, Gilels, Berman, Ashkenazy or indeed the majority of their compatriots. There is at least a whole aspect of life largely untouched!

The transfer here is amazingly good, better than most of Cortot's solo album. If you were ever put off by the historic sound of Cortot, try this one and most likely you will change your mind. Better still would be his EMI chamber music with Thibaud/ Casals like their Archduke Trio and Schubert Piano Trio No.1.

Music Review:

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1. Allegro Molto
2. Andante
3. Allegro Vivo
4. Allegro Quasi Presto
5. Allegro Non Troppo
6. Andante
7. Finale (Allegro Non Troppo)
8. Allegretto Ben Moderato
9. Allegro - Quasi Lento - Tempo I Allegro
10. Recitativo - Fantasia (Ben Moderato - Largamente - Molto Vivace)
11. Allegretto Poco Mosso