Bax's second violin sonata is one of the most nuanced, subtly inflected duos ever written, requiring everything from gutsy, sweeping gestures to ethereal harmonics, all couched in a richly chromatic idiom that pushed tonality in new directions. Those who know Bax's "November Woods" will recognize the close kinship of this sonata with the seminal orchestral work. Jackson has the measure of this music and plays it all with a stunning tonal palette, ably matched by Wass. Reproduced on a good system and with proper volume levels, there is nothing reticent in this bold performance.
By the time Bax began composing his Concerto for Violin and Orchestra in 1937, he had written six symphonies and numerous works for combinations of solo instruments and orchestra, only two of which, the Phantasy for Viola and Orchestra and the Cello Concerto, are actual concertos. (The pieces for piano and orchestra are more akin to Bax's tone poems than to genuine concertos.) Bax began the concerto in June 1937, finishing the short score in October. The piece was completed …….John Palmer @ Allmusic
This SACD transfer of Anne-Sophie Mutter’s Beethoven violin sonatas, taken from a series of live recordings from 1998, does not transcend the questionable interpretations. In each of these famous sonatas, Mutter takes excessive liberties with respect to dynamics and phrasing, and while some listeners may appreciate the thought and care she puts into these readings, it sounds as if she is trying a bit too hard to be “musical”. For example, just before the exposition repeat of the “Spring” sonata, several instances of disproportionate agogic pauses, inconsistent use of vibrato, random adherences to sforzando markings, and a sporadic disregard for (or recasting of) dynamics combine to produce an overly fussy performance that lacks momentum and a sense of direction.
Corelli's Op. 5 Violin Sonatas have always been admired by chamber music fans; there are a couple of good recordings of them already available. But this new one by Baroque specialist and virtuoso Andrew Manze and harpsichordist Richard Egarr presents the sonatas in such a bright, exciting, and improvisatory light that they seem brand new. During the composer's lifetime, these sonatas were widely played and tremendously influential; there's a good chance that it was assumed that virtuosi took what was written on the page as a starting point for embellishing and sheer showing off.