Nikolai Roslavets Violin Sonatas Nos. 1, 4 & 6 (solomia Soroka)

Following their previous two volumes of Beethoven’s Violin Sonatas, Antje Weithaas and Dénes Várjon now release the third volume on our partner label CAvi. This was a long-held wish of renowned violinist Antje Weithaas, who says “Just once in my lifetime, I wanted to record Beethoven’s ten violin sonatas as a cycle!”. Together with the versatile Hungarian pianist Dénes Várjon, she recorded the cycle not in the chronologial order but thematically. Their third and final album spans an arc from the first to the last violin sonatas, as well as Sonata No. 5 and 6, and collects the composer’s more lyrical works.

Following their previous two volumes of Beethoven’s Violin Sonatas, Antje Weithaas and Dénes Várjon now release the third volume on our partner label CAvi. This was a long-held wish of renowned violinist Antje Weithaas, who says “Just once in my lifetime, I wanted to record Beethoven’s ten violin sonatas as a cycle!”. Together with the versatile Hungarian pianist Dénes Várjon, she recorded the cycle not in the chronologial order but thematically. Their third and final album spans an arc from the first to the last violin sonatas, as well as Sonata No. 5 and 6, and collects the composer’s more lyrical works.

New Jersey-born George Antheil travelled to Europe in 1922 determined to become “noted and notorious” as a pianist-composer, soon gaining a reputation as the “bad boy of music” with works such as the infamous Ballet mécanique. The first three violin sonatas come from this period, with the eclectic Violin Sonata No. 1 displaying the fiercely barbaric influence of Stravinsky, and the more jazzy No. 2 developing experiments in “musical cubism”. His Violin Sonata No. 3 achieves a synthesis of Stravinskian rhythms and Antheil’s more song-like tendencies, while the later No. 4 is built on Classical and Baroque models.

New Jersey-born George Antheil traveled to Europe in 1922 determined to become 'noted and notorious' as a pianist-composer, soon gaining a reputation as the 'bad boy of music' with works such as the infamous Ballet mecanique. The first three violin sonatas come from this period, with the eclectic Violin Sonata No. 1 displaying the fiercely barbaric influence of Stravinsky, and the more jazzy No. 2 developing experiments in 'musical cubism'. His Violin Sonata No. 3 achieves a synthesis of Stravinskian rhythms and Antheil’s more song-like tendencies, while the later No. 4 is built on Classical and Baroque models.

"Mozart Violin Sonatas," proclaims the main graphic of this release by pianist Cédric Tiberghien and violinist Alina Ibragimova. Then the track list title reads "Sonatas for keyboard and violin." In reality the program contains both types, for the two-CD set traverses much of Mozart's output for the two instruments, and his attitude toward the relationship between them changed over the course of his career.