Scherzo for violin & piano in C minor (third movement of "F-A-E Sonata"), WoO posth. 2
Sonata for violin & piano No. 1 in G major ("Regen"), Op. 78
Sonata for violin & piano No. 2 in A major ("Thun"), Op. 100
Sonata for violin & piano No. 3 in D minor, Op. 108
To hear some tell it, violinist Aylen Pritchin is the next big thing in Russian music, and he's joined here by another representative of the younger generation, pianist Maxim Emelyanychev. These performances do not fall into the big Russian tradition, however. For one thing, they are lightly oriented toward historical performance, which is still rare in Russia; Pritchin plays a 1725 Jacques Boquay violin, and Emelyanchev an 1875 Steinway that produces a sound very likely quite close to what Brahms would have heard. The pair ...
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To hear some tell it, violinist Aylen Pritchin is the next big thing in Russian music, and he's joined here by another representative of the younger generation, pianist Maxim Emelyanychev. These performances do not fall into the big Russian tradition, however. For one thing, they are lightly oriented toward historical performance, which is still rare in Russia; Pritchin plays a 1725 Jacques Boquay violin, and Emelyanchev an 1875 Steinway that produces a sound very likely quite close to what Brahms would have heard. The pair gives the three Brahms violin sonatas their original name of Sonata for piano and violin, which indicated not the accompanied piano sonata of Mozart's day but an equal partnership of violin and piano. Indeed, Pritchin and Emelyanchev are a finely coordinated pair. Their sound overall is delicate and lyrical, in line with the strong links -- emphasized in the liner notes -- between the first two of these sonatas and the language of Brahms' art songs. The playing is at a vast distance...
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