ベートーヴェン:ヴァイオリン・ソナタ第3番&第9番《クロイツェル》

ムローヴァのベートーヴェン・ソナタ集、第1巻がリイシュー!

2010年にリリースされ、現在は廃盤となっているヴィクトリア・ムローヴァの「ベートーヴェン:ヴァイオリン・ソナタ第3番&第9番《クロイツェル》」がSignum Classicsから新装再発売!2025年9月にリリースされ、ムローヴァが約15年という長い年月をかけて取り組んできたベートーヴェン・ソナタ集の完結編となった第2番&第10番(XSIGCD920/SIGCD920)、2024年リリースの第6番、第1番、第8番(XSIGCD794/SIGCD794)、2021年にOnyxからリリースされたと第4番、第5番、第7番(PONYX4221/ONYX4221)と合わせて、これにてソナタ集の全巻が現役盤として入手可能になります。

この第1巻のみ共演は2001年フランドル音楽祭の国際フォルテピアノ・コンクールの覇者であるクリスティアン・ベザイデンホウト。愛用する1750年製グァダニーニ、ワルター・バエルビエロ製のバロック弓を携え楽聖の精神に迫った、長く崇高な旅の第一歩となった記念碑的録音の復活です。
東京エムプラス

Unlike the sonatas for cello and piano, to which Beethoven turned during all three of his commonly recognized style periods, the sonatas for violin and piano were confined to the earlier portion of his career. Nevertheless, Beethoven continued to advance the equality of the two instruments that Mozart had begun, giving an increasingly independent role to both instruments and increasing the virtuosity of the part-writing. This Onyx album features the early Op. 12/3 Sonata, as well as the perennially respected Op. 47 "Kreutzer" Sonata. Russian-born pianist Viktoria Mullova is joined by fortepianist Kristian Bezuidenhout for a period instrument performance that proves to be a step above the rest. Bezuidenhout writes a brief introduction to the instruments in the liner notes; instead of just giving mere technical specifications for each instrument, it paints a vivid picture of each instrument's personality and individual quirks that truly gives listeners something to latch on to. Rather than shying away from their instruments' shortcomings, as is sometimes the case in recordings such as these, Mullova and Bezuidenhout celebrate them. Combined with their individual energy and passion, complete technical mastery, deep understanding of the score, and unified vision of its performance, this results in a finished product that is completely satisfying and engaging from start to finish. Neither Mullova nor Bezuidenhout are shy about their accents, dynamic emphasis, driven tempos, and forceful playing, leaving listeners excitedly breathless by the end of the album. We can only hope that they will continue with a complete survey of the remaining eight sonatas.