Welcome to "For the Record," Violinist.com's weekly roundup of new releases of recordings by violinists, violists, cellists and other classical musicians. We hope it helps you keep track of your favorite artists, as well as find some new ones to add to your listening!
From an early age, Swiss violinist Sebastian Bohren was immersed in a lineage of violinists who favored Romantic transcriptions of Baroque repertoire, studying with a pupil of the great Ukranian-born violinist Nathan Milstein. Later in life, he fell under the influence of violinist Ida Haendel on YouTube, watching her perform Corelli’s La folia variations. "She played this amazing virtuoso cadenza, and I was captivated," he said. So arose the concept of a program reflecting the ethos of La folia, the ear-catching theme which has fascinated composers for centuries, from the Baroque era’s Tomaso Antonio Vitali and Giuseppe Tartini to latter-day Ottorino Respighi and Fritz Kreisler. Sebastian plays on two different violins, the 1710 “King George” Stradivarius, and a Guadagnini made in 1761. BELOW: Sebastian Bohren about his new album:
After recording Beethoven's complete works for cello and piano, Alexander Melnikov and Jean-Guihen Queyras now turn to two more giants of the repertory. Chopin’s Cello Sonata, his last work published in his lifetime, seems almost like a testament, sombre and tormented – a world away from the radiance and surging lyricism of the youthful work by Rachmaninoff that it inspired. These two masterpieces by composers from the two chronological extremities of Romanticism, both pianists above all, are ideally placed in perspective here. BELOW: Rachmaninoff: Cello Sonata in G Minor, Op. 19: III. Andante
Particularly when it comes to J.S. Bach's incomparable solo works, the Hungarian violinist Kristóf Baráti has established himself as one of the foremost interpreters of his generation. This complete set of the six Sonatas and Partitas, performed in full at the 2016 Verbier Festival, marks his first live recording of the cycle. Baráti's performance balances dazzling virtuosity with solemn reflection. (Digital Only) BELOW: J.S. Bach: Partita for Violin Solo No. 3 in E Major, BWV 1006 - I. Preludio
Each of Eugène Ysaÿe's 10 Préludes Op. 35 was written to feature a musical interval: going from "unison" to seconds, to thirds, and all the way to 10th. Composed in 1928, they were published in 1952 by Ysaye's son Antoine for Schott Brothers. The Préludes, which have both pedagogical intent and musical worth, have rarely been recorded. Here, Italian violinist Franco Scozzafava (who trained with Ruggiero Ricci, Boris Belkin and Vladimir Spivakov) performs the preludes. Certainly a help for those wishing to study them!m BELOW: Trailer for the album:
If you have a new recording you would like us to consider for inclusion in our Thursday "For the Record" feature, please e-mail Editor Laurie Niles. Be sure to include the name of your album, a link to it and a short description of what it includes.
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