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Violin Fantasies - Schubert, Schumann, Etc / Koh, Uchida
Jennifer Koh is a really good violinist, and this enterprising program showcases her skills comprehensively. Schubert's remarkable late Fantasie in C for Violin and Piano D. 934 still isn't as well known as his other late works, perhaps because he wrote so little music for this combination, but it's a major masterpiece and Koh plays it like one. Her tone is wistful at the opening, lively in the allegros, and in general more gutsy (all to the good) than the recent Shiokawa/Schiff rendition on ECM. Her partner, Reiko Uchida, shares her conception of the piece and isn't afraid to take center stage when called for, particularly in the work's latter stages.
I actually prefer this piano and violin arrangement of Schumann's Fantasie in C Op. 131 to his rather soggy original for violin and orchestra, scored in his most monochrome late style. Koh and Uchida find a lightness and lyricism in the piece that allows us to enjoy the beautiful tunes free of their orchestral shackles, and you would never know that this was not Schumann's intention all along. I'm less thrilled with the Schoenberg Phantasy, which is played about as beautifully as it can be, but it's ugly music and out of place in this context despite the eloquent case made for it in the very detailed and articulate booklet notes by Andrea Lamoreaux. This is one of those cases where the lineup perhaps appears better in theory than in practice, though Ornette Coleman's soulful "Trinity" Fantasy for solo violin does sound right at home here for some reason and makes a fine conclusion to an enterprising program.
Sonically this disc is simply gorgeous. The balances between piano and violin turn out to be just about perfect, and the lower octaves of the keyboard have a depth and presence, especially in piano passages, that is simply thrilling. I would recommend this disc on technical grounds alone, even if the artistic side weren't as successful as it clearly is. So despite my small reservation regarding the inclusion of the Schoenberg (and others may differ with me there), this is a pretty terrific recording on all counts, and the Schubert and Schumann performances make it essential listening for fans of those composers.
--David Hurwitz, ClassicsToday.com
I actually prefer this piano and violin arrangement of Schumann's Fantasie in C Op. 131 to his rather soggy original for violin and orchestra, scored in his most monochrome late style. Koh and Uchida find a lightness and lyricism in the piece that allows us to enjoy the beautiful tunes free of their orchestral shackles, and you would never know that this was not Schumann's intention all along. I'm less thrilled with the Schoenberg Phantasy, which is played about as beautifully as it can be, but it's ugly music and out of place in this context despite the eloquent case made for it in the very detailed and articulate booklet notes by Andrea Lamoreaux. This is one of those cases where the lineup perhaps appears better in theory than in practice, though Ornette Coleman's soulful "Trinity" Fantasy for solo violin does sound right at home here for some reason and makes a fine conclusion to an enterprising program.
Sonically this disc is simply gorgeous. The balances between piano and violin turn out to be just about perfect, and the lower octaves of the keyboard have a depth and presence, especially in piano passages, that is simply thrilling. I would recommend this disc on technical grounds alone, even if the artistic side weren't as successful as it clearly is. So despite my small reservation regarding the inclusion of the Schoenberg (and others may differ with me there), this is a pretty terrific recording on all counts, and the Schubert and Schumann performances make it essential listening for fans of those composers.
--David Hurwitz, ClassicsToday.com
Jennifer Koh is a really good violinist, and this enterprising program showcases her skills comprehensively. Schubert's remarkable late Fantasie in C for Violin and Piano D. 934 still isn't as well known as his other late works, perhaps because he wrote so little music for this combination, but it's a major masterpiece and Koh plays it like one. Her tone is wistful at the opening, lively in the allegros, and in general more gutsy (all to the good) than the recent Shiokawa/Schiff rendition on ECM. Her partner, Reiko Uchida, shares her conception of the piece and isn't afraid to take center stage when called for, particularly in the work's latter stages.
I actually prefer this piano and violin arrangement of Schumann's Fantasie in C Op. 131 to his rather soggy original for violin and orchestra, scored in his most monochrome late style. Koh and Uchida find a lightness and lyricism in the piece that allows us to enjoy the beautiful tunes free of their orchestral shackles, and you would never know that this was not Schumann's intention all along. I'm less thrilled with the Schoenberg Phantasy, which is played about as beautifully as it can be, but it's ugly music and out of place in this context despite the eloquent case made for it in the very detailed and articulate booklet notes by Andrea Lamoreaux. This is one of those cases where the lineup perhaps appears better in theory than in practice, though Ornette Coleman's soulful "Trinity" Fantasy for solo violin does sound right at home here for some reason and makes a fine conclusion to an enterprising program.
Sonically this disc is simply gorgeous. The balances between piano and violin turn out to be just about perfect, and the lower octaves of the keyboard have a depth and presence, especially in piano passages, that is simply thrilling. I would recommend this disc on technical grounds alone, even if the artistic side weren't as successful as it clearly is. So despite my small reservation regarding the inclusion of the Schoenberg (and others may differ with me there), this is a pretty terrific recording on all counts, and the Schubert and Schumann performances make it essential listening for fans of those composers.
--David Hurwitz, ClassicsToday.com
I actually prefer this piano and violin arrangement of Schumann's Fantasie in C Op. 131 to his rather soggy original for violin and orchestra, scored in his most monochrome late style. Koh and Uchida find a lightness and lyricism in the piece that allows us to enjoy the beautiful tunes free of their orchestral shackles, and you would never know that this was not Schumann's intention all along. I'm less thrilled with the Schoenberg Phantasy, which is played about as beautifully as it can be, but it's ugly music and out of place in this context despite the eloquent case made for it in the very detailed and articulate booklet notes by Andrea Lamoreaux. This is one of those cases where the lineup perhaps appears better in theory than in practice, though Ornette Coleman's soulful "Trinity" Fantasy for solo violin does sound right at home here for some reason and makes a fine conclusion to an enterprising program.
Sonically this disc is simply gorgeous. The balances between piano and violin turn out to be just about perfect, and the lower octaves of the keyboard have a depth and presence, especially in piano passages, that is simply thrilling. I would recommend this disc on technical grounds alone, even if the artistic side weren't as successful as it clearly is. So despite my small reservation regarding the inclusion of the Schoenberg (and others may differ with me there), this is a pretty terrific recording on all counts, and the Schubert and Schumann performances make it essential listening for fans of those composers.
--David Hurwitz, ClassicsToday.com
$19.99
Violin Fantasies - Schubert, Schumann, Etc / Koh, Uchida—
$19.99
Description
Jennifer Koh is a really good violinist, and this enterprising program showcases her skills comprehensively. Schubert's remarkable late Fantasie in C for Violin and Piano D. 934 still isn't as well known as his other late works, perhaps because he wrote so little music for this combination, but it's a major masterpiece and Koh plays it like one. Her tone is wistful at the opening, lively in the allegros, and in general more gutsy (all to the good) than the recent Shiokawa/Schiff rendition on ECM. Her partner, Reiko Uchida, shares her conception of the piece and isn't afraid to take center stage when called for, particularly in the work's latter stages.
I actually prefer this piano and violin arrangement of Schumann's Fantasie in C Op. 131 to his rather soggy original for violin and orchestra, scored in his most monochrome late style. Koh and Uchida find a lightness and lyricism in the piece that allows us to enjoy the beautiful tunes free of their orchestral shackles, and you would never know that this was not Schumann's intention all along. I'm less thrilled with the Schoenberg Phantasy, which is played about as beautifully as it can be, but it's ugly music and out of place in this context despite the eloquent case made for it in the very detailed and articulate booklet notes by Andrea Lamoreaux. This is one of those cases where the lineup perhaps appears better in theory than in practice, though Ornette Coleman's soulful "Trinity" Fantasy for solo violin does sound right at home here for some reason and makes a fine conclusion to an enterprising program.
Sonically this disc is simply gorgeous. The balances between piano and violin turn out to be just about perfect, and the lower octaves of the keyboard have a depth and presence, especially in piano passages, that is simply thrilling. I would recommend this disc on technical grounds alone, even if the artistic side weren't as successful as it clearly is. So despite my small reservation regarding the inclusion of the Schoenberg (and others may differ with me there), this is a pretty terrific recording on all counts, and the Schubert and Schumann performances make it essential listening for fans of those composers.
--David Hurwitz, ClassicsToday.com
I actually prefer this piano and violin arrangement of Schumann's Fantasie in C Op. 131 to his rather soggy original for violin and orchestra, scored in his most monochrome late style. Koh and Uchida find a lightness and lyricism in the piece that allows us to enjoy the beautiful tunes free of their orchestral shackles, and you would never know that this was not Schumann's intention all along. I'm less thrilled with the Schoenberg Phantasy, which is played about as beautifully as it can be, but it's ugly music and out of place in this context despite the eloquent case made for it in the very detailed and articulate booklet notes by Andrea Lamoreaux. This is one of those cases where the lineup perhaps appears better in theory than in practice, though Ornette Coleman's soulful "Trinity" Fantasy for solo violin does sound right at home here for some reason and makes a fine conclusion to an enterprising program.
Sonically this disc is simply gorgeous. The balances between piano and violin turn out to be just about perfect, and the lower octaves of the keyboard have a depth and presence, especially in piano passages, that is simply thrilling. I would recommend this disc on technical grounds alone, even if the artistic side weren't as successful as it clearly is. So despite my small reservation regarding the inclusion of the Schoenberg (and others may differ with me there), this is a pretty terrific recording on all counts, and the Schubert and Schumann performances make it essential listening for fans of those composers.
--David Hurwitz, ClassicsToday.com
