Among recent releases:
Alexander Melnikov and Isabelle Faust on Harmonia Mundi -- excellent sound, vibrant performances, though some find Faust's tone on the steely side.
Cedric Tiberghien and Alina Ibragimova on Wigmore Hall Live -- live performances, quite winning, sound decent if not audiophile, applause unfortunately included.
Among older performances, I very much enjoy Clara Haskil and Arthur Grumiaux (though not for showing off the stereo).
Nathan Milstein, none better.
Repluso, are you thinking of Milstein in the BACH sonatas and partitas for solo violin? If so, I'd agree, he's one of the best. He's enjoyable in a recording of some of the most popular Beethoven sonatas on EMI, but that's not the first set I'd turn to or keep for the desert island.
I had thought about Milstein. I do love his Bach. It sits on my desk at work. The week is not complete if I haven't heard his late 50's recordings. I saw a 99 Pealman/Argerich recording of the Kreutzer. Martha is one of my favorites. Anyone heard that recording?
The Faust on HM had caught my attention also. HM is one of those labels that can be just a tad too bright, but this one might be worth a shot. The video on Amazon seems promising.
Thanks for the post. Made me realize I don'T have any of Beethoven's Violin Sonatas. Thanks for the recommendations also. I will probably start with the Philips twofers Vol 1&2 and go from there.
Rok2id, They are wonderful works. The Kreutzer (9) is very well loved. You might want to start there.
Jhold-yes, my mistake. Its his Bach recordings I was recalling. too much red I guess. Wine that is.
My favorite set is by Jascha Heifetz w/Emanuel Bay and Brooks Smith (RCA LM-6707). It's a mono recording. I also like Henryk Szeryng w/ Ingrid Haebler on Phillips 6769011.
Franscescatti/Casadesus and Suk/Panenka. Both stereo, but neither audiophile quality, I suppose.
C minor op 30 no 2
Alfredo Campoli & Peter Katin.
Live performance from the Fairfield halls Croydon.
Here are some review quotations to confirm the superb performance and audiophile recording quality:
“…this release consists of entirely discography-filling material … The recorded sound is excellent … A warm welcome […] to this disc, which offers considerable rarity value to the violin aficionado.”
—Jonathan Woolf, MusicWeb International, August 2009
“The live recordings […] show some of the ‘bel canto’ playing for which Campoli was so well known … The recording is very good indeed though the violin is quite closely miked, giving an intimate feel to the playing.” [Rating ★★★★]
—Peter Joelson, Audiophile Audition, 28th September 2009
“…I’ve never heard [Campoli’s] fabled tone (nor perhaps anyone else’s) in such vivid fidelity; a similar lushness characterizes the piano’s tone as well … even if the performance didn’t flow so smoothly as it does, the recorded sound would magnify all the reading’s virtues in ratio in which many recordings diminish them.”
“At moments, Campoli’s sound could freeze a windsock in a hurricane … these live performances sound communicative as well as brilliant … This issue deserves to be a part of most collections … Very strongly recommended.”
—Robert Maxham, Fanfare 33:4, March/April 2010
American Record Guide
“The beauty of this recording is in the stellar playing, the sincerity of the musicianship, the straightforward sophistication of the interpretations, and the intimacy and high quality of the recorded performances.”
—Elaine Fine, American Record Guide , July/August 2010
International Record Review
“…as well as Campoli’s lovely and very individual sound, the intelligence and responsiveness of his playing is captivating, matched by the combination of energy and subtlety in Katin’s Mozart playing – a particular joy here.”
“…it is a great musical treat to hear these two musicians in this work [Brahms], especially their very expansive reading of the slow movement and the discipline and vigour of the finale.”
—Nigel Simeone, International Record Review, June 2012
“These are compelling duo recordings … The three popular sonatas come out of the loudspeakers with stunning presence and immediacy. Recommended, and do explore this special small label.”
—Peter Grahame Woolf, Musical Pointers, June 2012
“…in an outstanding programme, the great duo of Alfredo Campoli and Peter Katin play [the Mozart and Beethoven] with exquisite taste, refinement and velvety tone…”
“The [‘unforgettable’ Brahms performance] captures the magical intimacy of two great musicians making music together at home, and the results are spellbinding. Strongly recommended.”
—The Strad, July 2012
BBC Music Magazine
“Remarkably clear recordings enable us to savour the warmth and passion of Campoli’s playing. Katin, too, is admirable, maintaining rock-solid ensemble.”
—BBC Music Magazine, December 2012
Regarding the Bach Solo violin Sonaten and Partita.....Did you ever hear of Sigiswald Kuijkin??
Daverz favors the exact same couplings I do: Francescatti with Casadesus and Suk with Panenka. I also agree the sound is not of special quality, but what these performances have going for them is that they are very nicely played and very musical.
Hi Stringreen; I have not heard the Back by this violinist, is this a recording you would recommend over the Milstein ones?
I think the Francescati/Casadesus recordings are mediocre, especially Francescati's performance, which is wooden and unmusical. I wouldn't recommend their performances, which I grew up with, by the way.
How is Francescatti's playing "unmusical". In my experience "unmusical" just means "I don't like it", but maybe you have more specifics.
Maybe Francescatti's style is too "old fashioned" for Jult. I would never characterize his playing as wooden, but as songful or melodious. If I've learned anything from the reviews I've both written and read, the range of subjective or personal preference is extremely broad. What some may find satisfying, others may consider boring...and so on and so forth.
Jhold, the Melnikov/Faust arrived today. Just finished a decent sampling including the Kreutzer. Your description is dead on. I do think I am going to like this cycle very much based on what I have heard so far---would that Faust brought a bit more sweetness than steel at times. Perhaps she is aptly named.
I am still searching for some of the other intriguing recommendations in this thread. I must say, I would love to see these works on ECM. Andreas, your Beethoven Cello sonatas were pretty fine! Are you listening, my friend?
I've always been fond of the Perlman / Ashkenazy cycle on Decca-London
Have you heard the Augustin Dumay/Maria Joao Pires set?
Goofyfoot, No, I have not. Is that a recommendation or a request for information?
I have that set and it's as fine as any I know but it's also a DG recording.
Also, the no longer active Andante label released a box set of wonderfully remastered historical performances of strictly the 'Spring' and 'Keutzer' sonatas. This set includes Kreisler, Milstein, Szigeti, Goldberg, Kulenkampf and Busch. Its a shame that the Andante label is now finito but their out of print collections can be found on ArkivMusic.com for a significant discount.
I like the Szyering/Rubinstein recordings--not sure if they did the whole cycle, but I love the ones I have.
The complete 3 disc CD set on Decca with Kremer/ Argerich
are wonderful with a spontaneous feel to them.
I love the Augustin Dumay/Maria Joao Pires set.
Rpeluso...yes. I don't think its available any more. I was led to it by Harry Pearson of "The Absolute Sound". There are many good ones...(I play them well too) however I always gravitate to Kuij
Oh - I should also add that it was done with a Bach era violin/gut strings
Schubert, I can't find the Decca set. Do you have a catalog number and recording date? I do love the DG set with respect to performance. By the way, I picked up the later Milstein Bach set on your recommendation. It is very, very good. Better than his set from the 50's.
Stringreen-I located a used CD of this, eager for it to arrive.
Brownsfan, sorry it is DG.
Three performers always struck me as being Patrician is the best sense of that term.
One was Milstein, the others Claudio Arrau and Emile Gilels.
I definitely favor Milstein's Bach.