Beethoven / Irnberger / Korstick - Violin Sonatas 3 - SUPER-AUDIO CD [Super Audio CD (SACD)]

Tzimon Barto is recognized as one of the foremost American pianists of his generation. His new double-CD for Ondine features Paganini variations by three composers, Liszt, Brahms and Lutoslawski, and the popular Paganini Rhapsody Rachmaninov, on which Christoph Eschenbach conducts the Schleswig-Holstein Festival Orchestra. The Schleswig-Holstein Festival Orchestra was founded by Leonard Bernstein in 1987.

The opening of the second part of the complete recordings of Beethovens Violin Sonatas by Thomas Albertus Irnberger and Michael Korstick could hardly be any more energetic than with the Sonata No. 8 in G major op. 30/3. Following the initial exuberance, the performers flatter with more gentle tones, not least in the lyrically-dreamy second movement, which can even be inferred by the tempo /mood indication, which states Tempo di Menuetto, ma molto moderato e grazioso. Beethovens first Sonatas for violin and piano op. 12/1-3, composed during the years 1797/1798, contain despite their early date of creation and formal stylistic accordance to Mozarts ideal unmistakable elements of his later composition style, which challenged his contemporaries' critical taste accordingly.

The fourth and final volume of the complete recordings of Ludwig van Beethovens violin sonatas by Salzburg violinist Thomas Albertus Irnberger with Michael Korstick, piano, focuses on the sonatas op. 30/1 and 30/2. Composed in 1802, the year when he also wrote the InchHeiligenstädter TestamentInch, these works reflect Beethovens emotional state On one hand, there is a new affection, professional success and aspiration, on the other hand, above all his emerging severe hearing defect, threatening his artistic and psychological existence. Ever so different in style and characterized by heavy mood swings, the sonatas are composed in the keys of A major (No. 6, op. 30/1) respectively C minor (No. 7, op. 30/2). The Rondo in G major, WoO 41, and the Six German Dances, WoO 42, however, were written in 1794/96 and convey ease and almost juvenile cheerfulness - a trait also prevalent in the interpretation of Irnberger and Korstick.