Search - Wolfgang Amadeus Mozart, Ingrid Haebler :: Mozart: The Great Violin Sonatas, Vol. 2

The Mature Violin Sonatas

Alan Lekan | Boulder, CO | 06/01/2005

(5 out of 5 stars)

"Philips has selected the best 16 of Mozart's 35 sonatas for piano and violin on four CD's (Vol. 1, 2). So, does one need to hear all 35 sonatas? Probably not as the early ones (1-16) were written by a "tween" Mozart for their early prodigy tours and are not near the stature of those written 10 years later and beyond. The ealier mature works on "Violin Sonatas I" tend to possess that Mozart innocence and lyricism so fitting for the parlor. The later works here on Violin Sonatas Vol. 2 - like most of any composer's later works - tend to be the most mature, the most perfect of form, the richest and most imaginative. A quote from 'The Compleat Mozart' gives a useful historical perspective on these later violin sonatas:



"K.379, 376, 377 and 380 are works of great historic significance: they are the first important chamber works Mozart wrote after his decision to stay in Vienna as a free artist and constitute his visiting card as a composer. The grand style of 'Idomeneo' is still ringing in them and other moments foreshadow `The Abduction from the Seraglio ... They are rich in new ideas, showing traces of musical genius ... very brilliant, and well suited to the instrument. Moreover, the violin accompaniment is so ingeniously combined with the piano ... and thus these sonatas demand a violinist an accomplished as the pianist."



These sonatas are magnificantly played by Szeryng and Haebler - a partnership that was renowned for its seamless musicianship. Music author David Dubal says of the Austrian pianist Ingrid Haebler: "An artist who plays with polish and taste. Her Mozart is especially admired for these qualities. Her playing has refinement and geniality, as well as a very special tone quality." Agreed. Equally, the emaculate playing of Polish violinist, Henrynk Szeryng, finds just the right shape, line and nuance for this music to elicit that 18th-century parlor charm.



I heard an interesting story about Szeryng's choice of instruments that some might find interesting: "Many famous virtuoso violinists have chosen to play Guarnerius rather than Stradivarius violins, a fact not generally known to the public. At one time Polish virtuoso Henryk Szeryng owned two Stradivarius violins and one Guarnerius. Eventually, he donated the two Strads to worthy musical institutions and kept only the Guarnerius. Szeryng treasured his Guarnerius so much that, when he travelled, he bought two seats -- one for himself and one for his Guarnerius."



It is hard to fault much in the wonderful Philips DUO set when the music is so well performed and so typically pleasant and galante Mozart. ABout the only negative thing might be the sound quality - which is clean but lacks a truly satisfying fullness and richness of tone that are found in newer recordings (like Hahn, Steinberg)... but nothing to discourage enjoyment. Penguin Guide gave this set a top 3-star rating as well as listing it as one of their "Recommended Recordings" (for building a collection). Hard to say which to get first - Vol. 1 or 2 - both are recommended and both contain important works. Also, consider the legendary recordings by Arthur Grumiaux or the newer ones Hilary Hahn/Natalie Zhu for this genre if you are comparing choices."

The Musical Version of 1001 Nights

BLee | HK | 02/26/2003

(5 out of 5 stars)

"The best Mozart Sonatas so far. This is a musical version of 1001 Nights of the most civilised kind: no one could possibly grow tired of them. Perlman once said he had problem of finding whom the violinist is though he is good. Quite right, it's because when Szeryng played Mozart, he completely captured the essense of Mozart as demonstrated here, and when he played Bach, even Hilary Hahn said he had got everything she is aiming at. It's nothing like the later players, always exhibiting themselves, their sentimentality or else "technique" ( in the narrow sense) rather than serving the composer or the violin. Szeryng spoke more languages than Arthur Rubinstein, 7 altogether. Such is his supreme power of self-abnegation, linguistically and musically alike. As such it's quite beyond those egoists who could only speak one language and would complain that the rest of the world don't do the same.

These CDs triggered me to buy Szeryng/Haebler's Beethoven Sonatas. Not quite as good. My preliminary impression : Haebler's Beethoven isn't quite as good. I also tried Szeryng/Rubinstein, but I have problems at times, not always, in taking relish on Rubinstein. Rubinstein did grow with age, but the marks of self-inflicted wastage were always there. Who knows when he is on and when he is not. More often than not, what we we get is a mixed bag.Don't hesitate, buy them and volume I as well."

Fascinating Mozart

Espen Eggen | bærum, Norway | 01/04/2007

(4 out of 5 stars)

"This is one of several collections with two famous performers.

They blend very well together. Haebler seems to be the leader of the two.

Her performance is well articulated and convincing.

It is interesting to listen to this interpretation, especially after

the last Mozart jubilee. Everybody has been doing his music and there has been a search for the "real Mozart".

He has once again escaped everybody. But in this now "historic" performance with Haebler and Szeryng he seems to be quite close.

The musicality is on a very high level and their approach is very

earnest.

Although I prefer Lili Kraus and Szymon Goldberg in these works,

the sound here is much better and Haebler has just as much personality

in her interpretation as Kraus on hers. And they are quite different

from each other.

Summing up, I recommend the recording for everybody who has interest

in these sonatas."