Frank Peter Zimmermann Complete

Over the years Frank Peter Zimmermann has built up an impressive discography: he has recorded virtually all major concerto repertoire, ranging from Bach to Ligeti, Dean and Pintscer; the six solos sonatas of Ysaye; the 24 Caprices of Paganini and the complete Violin Sonatas of J.S. Bach and Mozart. He has been performing with all major orchestras in the world, among which the Berliner Philharmoniker with whom he has made his debut in 1985 with Daniel Barenboim; the Wiener Philharmoniker; the Royal Concertgebouw Orchestra, all London orchestras, as well as all big American orchestras. Frank Peter Zimmermann is a regular guest at all major music festivals of among others Salzburg, Edinburgh and Lucerne. Born in 1965 in Duisburg, Germany, he started learning playing the violin with is mother when he was five years old. He studied with Valery Gradov, Saschko Gawriloff and Herman Krebbers. He plays on the 1711 Antonius Stradivari violin "Lady Inchiquin", which is kindly provided by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, "Kunst im Landesbesitz".

Over the years Frank Peter Zimmermann has built up an impressive discography: he has recorded virtually all major concerto repertoire, ranging from Bach to Ligeti, Dean and Pintscer; the six solos sonatas of Ysaye; the 24 Caprices of Paganini and the complete Violin Sonatas of J.S. Bach and Mozart. He has been performing with all major orchestras in the world, among which the Berliner Philharmoniker with whom he has made his debut in 1985 with Daniel Barenboim; the Wiener Philharmoniker; the Royal Concertgebouw Orchestra, all London orchestras, as well as all big American orchestras. Frank Peter Zimmermann is a regular guest at all major music festivals of among others Salzburg, Edinburgh and Lucerne. Born in 1965 in Duisburg, Germany, he started learning playing the violin with is mother when he was five years old. He studied with Valery Gradov, Saschko Gawriloff and Herman Krebbers. He plays on the 1711 Antonius Stradivari violin "Lady Inchiquin", which is kindly provided by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, "Kunst im Landesbesitz".

Over the years Frank Peter Zimmermann has built up an impressive discography: he has recorded virtually all major concerto repertoire, ranging from Bach to Ligeti, Dean and Pintscer; the six solos sonatas of Ysaye; the 24 Caprices of Paganini and the complete Violin Sonatas of J.S. Bach and Mozart. He has been performing with all major orchestras in the world, among which the Berliner Philharmoniker with whom he has made his debut in 1985 with Daniel Barenboim; the Wiener Philharmoniker; the Royal Concertgebouw Orchestra, all London orchestras, as well as all big American orchestras. Frank Peter Zimmermann is a regular guest at all major music festivals of among others Salzburg, Edinburgh and Lucerne. Born in 1965 in Duisburg, Germany, he started learning playing the violin with is mother when he was five years old. He studied with Valery Gradov, Saschko Gawriloff and Herman Krebbers. He plays on the 1711 Antonius Stradivari violin "Lady Inchiquin", which is kindly provided by the Kunstsammlung Nordrhein-Westfalen, Düsseldorf, "Kunst im Landesbesitz".

Considering that Mozart's Divertimento in E-flat is far and away the greatest string trio ever written, and one of the unquestionable monuments of chamber music generally, it doesn't get the attention that it surely deserves from either record labels or collectors. Perhaps the dearth of regularly constituted string trios (as opposed to quartets) has something to do with it, but the fact remains that there is no greater testament to Mozart's genius than this epic, nearly 50-minute-long masterpiece in six movements that contains not a second that fails to rise to the highest level of textural gorgeousness and supreme melodic inspiration. Happily, most performances understand how special the music is, and give it their best effort. This one is no exception. The Zimmerman Trio plays with remarkably accurate intonation and a ravishing tone that's also mindful of the Classical style. Schubert's single-movement trio makes the perfect coupling. It seems to grow right out of the Mozart until the end of the exposition, when Schubert suddenly sails in with some typically arresting harmony.

Frank Peter Zimmermann - Mozart - Violin Concertos Nos. 1, 3, 4 (2015) {Hänssler Classic 98.039}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 371 Mb | MP3 @320 -> 181 Mb
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© 2015 Hänssler Classic | CD 98.039
Classical / Concerto / Violin

Frank Peter Zimmermann is an excellent violinist, and an ideal Mozart interpreter. His rhythms are clean and crisp, his ornamentation appropriate, his vibrato always tasteful and expressive, and the tempos he and conductor Radoslaw Szulc adopt well-nigh ideal. Indeed, Mozart seems to represent the dividing line between successful historically informed and modern violin performance, with the former usually sounding dismal and the latter almost invariably proving satisfactory, at a minimum. This is ironic because, as we know, Mozart’s dad wrote the major 18th-century treatise on violin playing, and it’s amusing to hear performances that claim to follow Leopold’s rules come out sounding like dreck, as they so often do.

Frank Peter Zimmermann demonstrates his love for the music of Wolfgang Amadeus Mozart in his second installment of the violin concertos on Hänssler Classic. The Violin Concerto No. 2 in D major, K. 211, the Turkish-flavored Violin Concerto No. 5 in A major, K. 219, and the Sinfonia Concertante in E flat major, K. 364 complete the series and make a satisfying program, while Zimmermann's polished and lively playing complements his fine work on the first volume.

Cellist Sung-Won Yang’s debut album entirely devoted to Kodály was “the editor’s choice of the month” Gramophone Magazine and “critic’s choice of the year” Gramophone Magazine in the UK (2003). Since then, intelligence and originality of his interpretation and play have been world-widely praised by both the critics and the music fans, and have led him to appear on such prestigious venues as the Lincoln Center, the Salle Pleyel, the Théâtre des Champs-Élysées and the Royal Concertgebouw. Especially, his complete recording series of Kodály, Beethoven Sonatas/Variations, Brahms/Schumann for cello and piano, Bach’s 6 suites for solo cello, Beethoven trios (either for EMI or Decca/Universal) received international recognition.