Kristóf Baráti, Klára Würtz - Beethoven: Complete Violin Sonatas (2012)
Kristóf Baráti, Klára Würtz - Beethoven: Complete Violin Sonatas (2012)
WEB | FLAC (tracks) - 848 MB | 03:33:48
Genre: Classical | Label: Brilliant Classics
WEB | FLAC (tracks) - 848 MB | 03:33:48
Genre: Classical | Label: Brilliant Classics
In issue 33:2 and again in 34:1, Robert Maxham reviewed new releases by a young, Hungarian violinist named Kristóf Baráti. That first entry, a review of Baráti performing Paganini’s First and Second concertos, earned Maxham’s strong recommendation. A year later, the second entry, a review of Baráti performing Bach’s complete Unaccompanied Violin Sonatas and Partitas, earned Maxham’s urgent recommendation. Had I paid more attention to Robert’s reviews at the time, I might have made Baráti’s acquaintance sooner than I did from this brand new Beethoven set, but knowing that Robert and I are not always of similar mind when it comes to violinists and violin playing, I didn’t give his reviews the careful consideration they deserved. Well, my bad and my loss, for I am prepared to say that Kristóf Baráti is not just another prize-winning whiz-kid on the violin, he is a talent that comes along once in a decade, perhaps once in a generation.
Actually, he’s no kid, at least not any more. Born in Budapest in 1979, he’s now 34, hardly over the hill, but no awkward adolescent either. In recent months, I’ve found myself really impressed by some up-and-coming young violinists—Stefan Jackiw comes to mind in a 2011 Want List recording of the Brahms sonatas—but Baráti is something different; he’s of an order of magnitude greater than any player I’ve encountered in at least the last 10 years. Even as I write this, I realize that to dwell on Baráti’s technical perfection—his cleanness of articulation and dead-center intonation, the buttery beauty of tone he draws from his 1703 “Lady Harmsworth” Strad, and his rhythmic accuracy, so precise you could set the earth’s atomic clock by it—is to focus on but the surface of his artistry.
In 10 sonatas, I count not one—that’s zero—portamentos, even when Beethoven’s melodic line tempts one to indulge the impulse. Moreover, Baráti’s vibrato is so restrained and subtle that one is often left wondering, “is he or isn’t he?” Yet for all his resistance to the obvious modes of emoting, Baráti finds even more effective ways of communicating expression in the notes themselves. Slight changes in bow pressure and exquisite attention to Beethoven’s gradations in dynamics make for readings that are indescribably responsive to the music. Lest I be guilty of downplaying Baráti’s phenomenal technique, let me assure you that where the scores invite virtuoso showmanship, Baráti delivers. The pace in fast movements tends generally towards the upper range of today’s metronome settings for the marked tempos, and in some cases is faster than I can recall ever hearing certain movements or sections thereof played. For a jaw-dropping experience, try the second variation in the second movement of the “Kreutzer” Sonata, the finale of the C-Minor Sonata (No. 7), or the loony last movement of the G-Major Sonata (No. 8). I seem to remember the latter played this fast only once, on a 1957 Capitol recording by Nathan Milstein and Arthur Balsam, an LP I no longer have. I think it’s significant though, that Baráti undertook finishing studies with Eduard Wulfson, himself a student of Milstein, Menuhin, and Szeryng.
Another aspect of Baráti’s technique—at least one that amazes me—is his articulation of chords. Not only does he not break them, but his sweep of them is so fused and clean that they sound bonded together as they would if struck on a keyboard. There is no sense of a chord being swiped over strings across a curved bridge and fingerboard; it’s as if the bridge and fingerboard are flat, like on a guitar. I’m not sure how Baráti manages this effect, but he does, which is one reason I’m now so intent on hearing his Bach sonatas and partitas to see how he handles the double- and triple-stopping in those works.
Lest I also be guilty of ignoring Baráti’s partner in these miraculous performances, let me say that pianist Klára Würtz is every bit as amazing a player as Baráti. Her interplay with him and the violin part is as attentive and attention-grabbing as I’ve ever heard. Where the violin and piano parts diverge in leapfrog or echo fashion, Würtz doesn’t simply try to imitate Baráti’s phrasing or inflection, but just as often finds a flip side to the passage so that we hear an alternate aspect or dimension of it. Yet, when the two parts come together, the meshing is so seamless you may momentarily believe you’re hearing a single instrument.
This is not something I’ve ever said before, and I don’t say it lightly now, but no matter how many other sets of Beethoven’s complete violin sonatas you may have—unless you’re a die-hard fan of versions by Heifetz or Grumiaux, Francescatti/Casadesus, Menuhin/Kempff, Stern/Istomin, Szeryng/Haebler, or one of the more recent period-instrument renditions—you might as well give them away to friends or Goodwill, because once you’ve heard Baráti and Würtz, you’ll never listen to anyone else again. – Jerry Dubins
Track List:
01. Violin Sonata No. 1 in D, Op. 12 No. 1: I. Allegro con Brio
02. Violin Sonata No. 1 in D, Op. 12 No. 1: II. Tema con Variazioni
03. Violin Sonata No. 1 in D, Op. 12 No. 1: III. Rondo: Allegro
04. Violin Sonata No. 2 in A, Op. 12 No. 2: I. Allegro Vivace
05. Violin Sonata No. 2 in A, Op. 12 No. 2: II. Andante, Pi๠Tosto Allegretto
06. Violin Sonata No. 2 in A, Op. 12 No. 2: III. Allegro Piacevole
07. Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: I. Allegro con Spirito
08. Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: II. Adagio con Molt'espressione
09. Violin Sonata No. 3 in E-Flat, Op. 12 No. 3: III. Rondo: Allegro Molto
10. Violin Sonata No. 4 in A Minor, Op. 23: I. Presto
11. Violin Sonata No. 4 in A Minor, Op. 23: II. Andante scherzoso, Pi๠Allegretto
12. Violin Sonata No. 4 in A Minor, Op. 23: III. Allegro Molto
13. Violin Sonata No. 5 in F, Op. 24 'Spring': I. Allegro
14. Violin Sonata No. 5 in F, Op. 24 'Spring': II. Adagio molto Espressivo
15. Violin Sonata No. 5 in F, Op. 24 'Spring': III. Scherzo: Allegro Molto
16. Violin Sonata No. 5 in F, Op. 24 'Spring': IV. Rondo: Allegro ma non Troppo
17. Violin Sonata No. 6 in A, Op. 30 No. 1: I. Allegro
18. Violin Sonata No. 6 in A, Op. 30 No. 1: II. Adagio molto Espressivo
19. Violin Sonata No. 6 in A, Op. 30 No. 1: III. Allegretto con Variazioni
20. Violin Sonata No. 7 in C Minor, Op. 30 No. 2: I. Allegro con Brio
21. Violin Sonata No. 7 in C Minor, Op. 30 No. 2: II. Adagio Cantabile
22. Violin Sonata No. 7 in C Minor, Op. 30 No. 2: III. Scherzo, Allegro
23. Violin Sonata No. 7 in C Minor, Op. 30 No. 2: IV. Finale: Allegro
24. Violin Sonata No. 8 in G, Op. 30 No. 3: I. Allegro Assai
25. Violin Sonata No. 8 in G, Op. 30 No. 3: II. Tempo di Menuetto
26. Violin Sonata No. 8 in G, Op. 30 No. 3: III. Allegro Vivace
27. Violin Sonata No. 9 in A, Op. 47 'Kreutzer': I. Adagio sostenuto - Presto
28. Violin Sonata No. 9 in A, Op. 47 'Kreutzer': II. Andante con Variazioni
29. Violin Sonata No. 9 in A, Op. 47 'Kreutzer': III. Finale: Presto
30. Violin Sonata No. 10 in G, Op. 96: I. Allegro Moderato
31. Violin Sonata No. 10 in G, Op. 96: II. Adagio Espressivo
32. Violin Sonata No. 10 in G, Op. 96: III. Scherzo: Allegro
33. Violin Sonata No. 10 in G, Op. 96: IV. Poco Allegretto
Performers:
Kristóf Baráti, violin
Klára Würtz, piano
PERFORMER: auCDtect Task Manager, ver. 1.6.0 RC1 build 1.6.0.1
Copyright © 2008-2010 y-soft. All rights reserved
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ANALYZER: auCDtect: CD records authenticity detector, version 0.8.2
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Copyright © 2004 Alexander Djourik. All rights reserved.
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Copyright © 2008-2010 y-soft. All rights reserved
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Copyright © 2004 Alexander Djourik. All rights reserved.
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Signature: 2C352F80BAF4F17892918E4A24698E5DF3B9B51A
FILE: 26 III. Allegro Vivace (feat. Klára Würtz).flac
Size: 13724284 Hash: DA752B5B43C89C3A505FF044B51A480E Accuracy: -m0
Conclusion: CDDA 100%
Signature: DB8D88FF3D9845F0CB653CC650C2719451B2EDB3
FILE: 27 I. Adagio sostenuto - Presto (feat. Klára Würtz).flac
Size: 55870156 Hash: E4EFFC368BAA3A76E351A399F93B301D Accuracy: -m0
Conclusion: CDDA 58%
Signature: 4B8461C65BE52352D6EB5433E5121C4749047675
FILE: 28 II. Andante con Variazioni (feat. Klára Würtz).flac
Size: 52518282 Hash: 9412B86D3427673FC853FFB083444E9D Accuracy: -m0
Conclusion: CDDA 49%
Signature: D162F4E9C4838ED3FC2205F475A139C3790BFE16
FILE: 29 III. Finale- Presto (feat. Klára Würtz).flac
Size: 35409978 Hash: 782B905423E1CFA43884546652E583FE Accuracy: -m0
Conclusion: CDDA 76%
Signature: E7E43EF961E9B4EA0F608567E4C04BE42A632AD3
FILE: 30 I. Allegro Moderato (feat. Klára Würtz).flac
Size: 35229176 Hash: B40C4C9165CDBF5F2696AF7B683089B1 Accuracy: -m0
Conclusion: CDDA 100%
Signature: C08B5307E8990B274D8A207C416A970DD1A66D8D
FILE: 31 II. Adagio Espressivo (feat. Klára Würtz).flac
Size: 17320274 Hash: E398C6455271DB8B378E5938D913EFE7 Accuracy: -m0
Conclusion: CDDA 100%
Signature: 22F488461690788FD6D94F8BE2185AE1A88DCC0A
FILE: 32 III. Scherzo- Allegro (feat. Klára Würtz).flac
Size: 6810509 Hash: 74271B30631E8A2839D3657CBE32A591 Accuracy: -m0
Conclusion: CDDA 100%
Signature: 60E79AE6325FBF3A7E9F32E0E9A1A5C90829C71C
FILE: 33 IV. Poco Allegretto (feat. Klára Würtz).flac
Size: 27019041 Hash: DFA21A4EFEBBE05A429FA7B818F4EDDC Accuracy: -m0
Conclusion: CDDA 99%
Signature: 75F6F81E66C4E8EA070F5F58B950055B2470A59A
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