Franck: Sonata for Violin and Piano (CD review)

Also, Grieg: Sonata for Violin and Piano No. 3; Dvorak: Romantic Pieces. Renaud Capucon, violin; Khatia Buniatishvili, piano. Erato 08256 462501 8 9.

French violinist Renaud Capucon and Georgian pianist Khatia Buniatishvili are two relatively young and enormously talented musicians who make beautiful music together on this disc of violin sonatas from Franck, Grieg, and Dvorak. It's really quite a lovely album, the partnership of the two players producing some delightful results.

Things begin with the Sonata for Violin and Piano in A major by French composer, pianist, and organist Cesar Franck (1822-1890). Franck wrote the Sonata in his later years, 1886, dedicating it to his friend, violinist Eugene Ysaye, as a wedding gift. The four movements of the piece follow a slow-fast-slow-fast structure, with the slow sections the most memorable for me. They are sublime, and Capucon's solos are wonderfully lyrical and soaring. Ms. Buniatishvili's accompaniment, especially in the faster segments, is virtuosic, too, and they make the music come alive in contrasting contemplative and vigorous moods. Beautifully done.

Capucon and Buniatishvili
Next up is the Sonata for Violin and Piano No. 3 in C minor by Norwegian composer and pianist Edvard Grieg (1843-1907). He wrote it in 1887, some twenty years after writing his first two violin sonatas. It would be his last completed chamber work. Flawless intonation from Capucon and nuanced passage work from Buniatishvili highlight the work. After the peace and serenity of the opening Franck music, the Grieg sounds more dramatic, at least in the beginning. In fact, it's almost startlingly dramatic at this point, with the performers playing up the difference for all it's worth. But then they settle into Grieg's more sensitive and melodic material, and the music takes a daring turn into the rhapsodic. The second of the three movements is most songlike, with the violin singing its part in spirited fashion. The soloists take turns expressing the work's varied passions, the finale sounding as close to a traditional folk melody as Grieg would get.

The final item on the program is the four-movement suite called Romantic Pieces, written in 1887 by Czech composer Antonin Dvorak (1841-1904). Dvorak's four little compositions sound sweetly evocative under the guidance of Capucon and Buniatishvili, who again work wonderfully together, complementing each other's every note. Again I found the slower movements most to my liking, the performers infusing the music with a sublime attractiveness that is downright impossible to resist.

Producer Michael Fine and engineer Jin Choi recorded the album at Auditorium Campra, Conservatoire Darius Milhaud, Aix-en-Provence, France in April 2014. The two performers are playing on a large stage, miked at a moderate distance. The space is just enough to provide a strong presentation with good detail yet admit a pleasant degree of reflective hall ambience as well. The sound is smooth, warm, resonant, and mildly rounded, both artists showing to advantage in a natural-sounding acoustic.


To listen to a brief excerpt from this album, click here:

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John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa