Misc. Notes, This file is from the MIT archive project. Continuo part has been realised, articulations and dynamic markings have been added. See greyscale.
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- Violin Sonata No. 5 (Beethoven) - Wikipedia
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- Violin Sonata No. 5 (Beethoven)
- Violin Sonata in B-flat major, Op.5 No.2 (Corelli, Arcangelo)
Unlike the "vinyl days" of my heady youth , the current market offers a number of renditions of Op. A great embarrassment of riches! Needless to say, over the years I've auditioned a number of these renditions, ranging from somewhat old-school, more ornamented and upholstered versions, to those which were more direct and in some ways austere.
Violin Sonata No. 5 (Beethoven) - Wikipedia
For the money, I believe Elizabeth Wallfisch et al. The playing is thoughtful, atmospheric and well-executed, with decent but discreet ornamentation. The recording is beautiful, and while middle-of-the road, doesn't sound old-fashioned or plodding.
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I had this set for a number of years after it was first issued; it was bracing and very different than other Corelli, and it did us all a great service. However, I found that what was once revelatory didn't wear as well after repeated listening, and actually became more grating. Wallfisch hands-down passes the "repeated listening" test.
Having already spent many enjoyable hours listening to baroque violinist Andrew Manze and harpsichordist Richard Egarr perform these sonatas on their recent Harmonia Mundi recording, I was drawn to purchase this slightly older recording on Hyperion, now that it has been repackaged as a discounted 'Dyad'. I wanted to have at least two versions in order to be able to hear these much-beloved sonatas performed in different ways.
Accordingly, this review will be in large part a contrast between the Manze-Egarr recording on HM and this one by Wallfisch and her Convivium ensemble on Hyperion. You don't need to be a rocket scientist to realize that Manze has a more emphatic style than Wallfisch. Wallfisch is understated, exceedingly subtle, and at times you must turn the volume up in order to hear her clearly.
With Manze, it's just the opposite; in fact he can induce mild ear-pain at times. Manze overall is more forthright; amazingly prolific, oratorical, delivering flawless interpretations with ease and the greatest dexterity. What is missing from Manze is a wider dynamic range; it seems as if everything is played forte.
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Wallfisch plays with more staccatto strokes, and with a much more subdued tone than Manze. The end result is that, depending on the movement, Manze's rendering will sometimes seem the better, and sometimes Wallfisch's.
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On this recording, the opening movement of the first sonata is simply breathtaking: Wallfisch's violin, with the greatest subtletly and consummate finesse, soars with ingenious ornamentation and a perfectly understated lyricism. And overall I would say that Wallfisch is decidedly better at the ornamentation than Manze. The last sonata, La Follia, which Wallfisch plays superbly, carefully nuancing each stroke of the variations, clearly showcases Wallfisch's careful, deliberate yet understated bowing technique.
But elsewhere, it is Manze's style of playing that I prefer. To my ear, Wallfisch mangles the beautiful opening movement of sonata VII, while Manze has captured its sweet lyricism perfectly. These are two very different artists, and both prodigiously gifted, each with a unique tone and style. Horn Sonata in F major, Op. Flute Sonata in B-flat major, Anh. Retrieved from " https: Violin sonatas by Ludwig van Beethoven compositions Compositions in F major Music with dedications Music dedicated to nobility or royalty Sonata stubs.
Violin Sonata No. 5 (Beethoven)
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Violin Sonata in B-flat major, Op.5 No.2 (Corelli, Arcangelo)
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