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Charles Ives - Sonatas for Violin and Piano (1999)

3-09-2016, 11:05
Classical Music | FLAC / APE

Title: Sonatas for Violin and Piano
Year Of Release: 1999
Label: ECM Records / ECM New Series
Genre: Classical
Quality: Mp3 320 kbps / FLAC (log,image+cue)
Total Time: 01:15:57
Total Size: 191 / 329 Mb


First Violin Sonata
01. I. Andante - Allegro vivace 6:25
02. II. Largo cantabile 7:22
03. III. Allegro 8:42

Second Violin Sonata
04. I. Autumn. Adagio maestoso - Allegro moderato 5:44
05. II. In the Barn. Presto - Allegro moderato 4:42
06. III. The Revival. Largo - Allegretto 3:49

Third Violin Sonata
07. I. Adagio (Verse I) - Andante (Verse II) - Allegretto (Verse III) - Adagio (Last Verse) 13:38
08. II. Allegro 4:40
09. III. Adagio (Cantabile) - Andante con spirito 10:03

Fourth Violin Sonata
(Children's Day at the Camp Meeting)
10. I. Allegro 2:09
11. II. Largo - Allegro (con slugarocko) 6:30
12. III. Allegro 1:40

Hansheinz Schneeberger - violin
Daniel Cholette - piano

Perhaps akin to its French counterparts, the First Violin Sonata to my ears feels connected to the intersection of body and landscape, of song and action. It youthfully skirts the line between outright offense and justifiable play (and is that Bartok I hear creeping in through the exuberant double stops?). The second movement, an Allegro, is a pastiche of soaring melodies and grinding moments of impasse, while the final movement is like some anthemic dream turned in on itself. Such twisted charm seems part and parcel of the Ivesian experience, and backgrounds the “Autumn” movement of the Second Violin Sonata with tortured intimations in a magisterial wash of melody. These underlying struggles haunt with such regularity that whenever energies do pick up they seem like desperate attempts to break free from something dark and adhesive. In much the same way, “In The Barn” is at once exuberant and tempered by internal conflict, while “The Revival”—which opens with what I can only describe as a morose version of “Jingle Bells”—fascinatingly overlaps traditions and distortions with a jeweler’s eye. The Third Violin Sonata is the most consistent of the four. Its chain of verses moves through a mosaic of narratives, but always with a sense of forward motion and thematic drive. From the aggressive to the pastoral, it handles its moods with conviction. Subtitled “Children’s Day At The Camp Meeting,” the Fourth Violin Sonata opens with a terse Allegro and a cascading second movement, the latter being for me the masterpiece of the collection. Lullabies give way here to lilting rhythms and jolting cutoffs, inviting us to fill in the gaps with our own experiences and understandings.--Tyran Grillo

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