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Friedrich Kuhlau Violin Sonatas
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Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.to/Kahlau • More Information: https://www.brilliantclassics.com/art... • Brilliant Classics Spotify: https://open.spotify.com/user/brillia... • Brilliant Classics Facebook: / brilliantclassics • Composer: Friedrich Kuhlau • Artist: Giorgio Leonida Tosi baroque (violin), Paolo Porto (piano), Ileana Frontini (piano) • Friedrich Kuhlau (1786-1832) was born in Hannover, but as a student he went to Denmark, where he stayed the rest of his life, becoming an important national composer. • Kuhlau was a near contemporary of Beethoven, and his style shares elements of that genius (alas not the genius…): rooted in the 17th century classicism it foreshadows the Romantic movement in a true expression of affect, daring dissonances and sudden harmonic changes, and a general expression of romantic moods as favoured in the fashionable salons. • Kuhlau is nowadays best known for his Sonatinas for amateur pianists, serving as a welcome alternative to the more classical sonatinas by Clementi. • This new recording present Kuhlau’s Violin Sonatas Op. 79, music of considerable drama, brilliance and virtuosity, but also of gentle lyricism and charm. • As interludes to these sonatas the piano duo Porto-Frontini plays two works for piano 4-hands, an Allegro Pathétique and an Adagio Rondo. • Most of his chamber music features the flute, a commercially astute selection given the popularity of the instrument among amateur musicians at the time, even though Kuhlau was no flautist himself. There are, however, three piano quartets, a late string quartet closely modelled on Beethoven’s Op.132, and four violin sonatas. This Op.79 set was composed as a trio in Copenhagen in 1826, the year after he got drunk on champagne one evening with Beethoven, who wrote a canon at the time and sent it along later with a mock-apology: ‘In this case, I haven’t the slightest memory of what I wrote yesterday… Think of me now and again, your devoted Beethoven.’ • All three sonatas are melodically fresh, dramatically imposing works that should not stand too shyly in the shadow of Beethoven’s contributions to the genre: the first and third are largely extrovert, whereas the second is thoughtful and intimate in character. The sonatas are juxtaposed here with late and brilliant works for piano four-hands which may reveal the influence of Schubert, so unconventional is their form, so bold the evocation of Romantic sonorities on the keyboard: on this album of historically informed performances by young Italian musicians, the instrument used is a Stein piano of Viennese manufacture, dating from 1830. • Played by Giorgio Leonida Tosi on a baroque violin, pianist Paolo Porto plays an 1830 Viennese Stein piano. • 00:00:00 Violin Sonata No. 3 Op. 79: I. Allegro molto • 00:04:18 Violin Sonata No. 3 Op. 79: II. Andantino • 00:07:50 Violin Sonata No. 3 Op. 79: III. Rondo. Allegro • 00:12:29 Allegro pathétique for Piano 4-hands in C Minor, Op. 123 • 00:24:51 Violin Sonata No. 2, Op. 79: I. Allegro • 00:29:13 Violin Sonata No. 2, Op. 79: II. Andantino • 00:31:37 Violin Sonata No. 2, Op. 79: III. Rondo alla polacca • 00:38:16 Adagio and Rondo for Piano 4-hands in A-Flat Major, Op. 124 • 00:50:33 Violin Sonata No. 1, Op. 79: I. Allegro gustoso • 00:54:48 Violin Sonata No. 1, Op. 79: II. Andante • 00:57:29 Violin Sonata No. 1, Op. 79: III. Rondo. Allegro scherzando
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