好想听啊～

Beethoven, Complete Sonatas for Piano and Violin. Isabelle Faust,violin; Alexander Melnikov, piano. Harmonia Mundi. HMC 902025/27

Albums like this one cater to those of us who like to go after a large block of a single composer's oeuvre in search of some additional insights into to his or her musical identity and sense of the world. With a minor composer, one who had a few great creative moments or who has one good musical idea that gets repeated over the course of a career, this is not very rewarding. But listening to all of Bartok's or Shostakovich's string quartets or all of Schubert's piano sonatas can give a different kind of reward than listening to one work.

Beethoven's ten sonatas for piano and violin have always appealed to me singly but I've never really taken a week and turned it over to them. Isabelle Faust's and Alexander Melnikov's new release of the ten in one album, the result of a sustained study by the two musicians (discussed and demonstrated by them in the album's accompanying DVD), was just what was needed to get the project going. The last time I listened to several of the Beethoven sonatas at a go, they were played by Pamela Frank, violin, with father, Claude Frank playing piano. Their approach wears well. Predictably less romantic and less conspicuously beautiful than the better known version by Gidon Kremer and Martha Argerich. Very satisfying.

Isabelle Faust was one of Harmonia Mundi's "nouveaux interpretes" at the turn of the new century, and she has since become one of their most recorded musicians. Melnikov is an established soloist and accompanist, whom we have heard with the likes of violinist Vadim Repin, and cellists Trüls Mork and Jean-Geihen Queyras. Together, they come at Beethoven with an 'expressive' style—and Melinokov is a full partner—these are true duets. Nobody is accompanying anybody; or rather, Beethoven passes the lead back and forth. Faust's tone is exquisite, a quality that comes through even in bold and incisive passages. Melnikov is percussive, his notes remarkably clear. He is also an accomplished performer on the forte-piano, which is reflected in the clarity of his playing style. Compared with the Franks, there is more intensity here from both musicians. Where the Franks flow, Faust and Melnikov twist, jump, pounce, whisper. There is more drama, understood in the sense of conflict, contrast. And individual phrases, individual moments—even sometimes individual notes—seem to have lives of their own that we are irresistibly drawn to. We do not flow from one phrase to the next. The music is restless. The Franks are more easy-going, Kremer and Argerich more rich and rapturously tidal. Both are less restless and less lucid than Faust and Melnikov. Even the most melodic passages in the hands of Faust and Melnikov have an urgent clarity I haven't heard from any other performers of this music.

So who is Ludvig Van Beethoven, according to this music and in these performances? A passionate Mozart bursting the seams of the classical style. Faust's and Melnikov's Beethoven helps us understand both the eighteenth and nineteenth centuries and feel an inevitability in the arrival of the latter - feel how inevitable it must have felt to Beethoven himself.

http://www.positive-feedback.com/Issue45/amateur3.htm
我都没看到他写了什么……估计自己都没听……这水文也太水了