Although Korngold’s ‘complete works for violin and piano’ make up a reasonably full disc, it is only fair to point out that the Violin Sonata is the single work that is not an arrangement from one of his other pieces. Yet this Sonata, written at the age of 15 for Carl Flesch and Artur Schnabel no less, is a fine example of his early style, with its echoes of Zemlinsky and early Schoenberg. The young Dutch violinist Sonja van Beek and German pianist Andreas Frölich negotiate its challenges with ease: as in Rachmaninoff’s Cello Sonata, the pianist has as tough a role as the melody instrument. Much Ado about Nothing is one of several arrangements of a suite of four movements derived from incidental music to Shakespeare’s play written in 1918, performed here with affection and a silken suavity. The remainder of the repertoire is made up of arrangements of Korngold lollipops, hit numbers from his operas, such as the unforgettable ‘Marietta’s Lied’ from Die tote Stadt, arranged by the composer as salon pieces and popularised by Kreisler and his ilk. Here, the almost vocal qualities of van Beek’s tone come into their own. An essential disc for the Korngold addict.
Runsaan tunnin mittaisen kokonaisuuden onnistunut rakentaminen sekä sitä myötäävä paketointi kuvineen, graafisine ilmeineen sekä kiinnostavine jopa esteettisesti miellyttävine levyteksteineen puoltaa yhä musiikin julkaisemista fyysisinä albumeina. Siksikin tämä käyrätorvisti Jukka Harjun yhdessä muusikkoystäviensä kanssa rakentama uusi suomalainen kamarimusiikkilevy tekee vaikutuksen..