Ludwig Van Beethoven (1770-1827) - The 10 Violin Sonatas / Remastered. 🎧 Qobuz bit.ly/3ISQokN Tidal tidal.com/browse/album/208761402 🎧 Spotify spoti.fi/3uJpiIc KZfaq Music bit.ly/3OdjvCw 🎧 Apple Music apple.co/3IUG7oo Amazon Music amzn.to/3tEKOfB 🎧 Deezer bit.ly/3MIspay Amazon Store amzn.to/37PlSuz 🎧 Napster bit.ly/3JLUoDe Soundcloud bit.ly/3pPbTvz 🎧 LineMusic日本 lin.ee/8Q8DKFL Awa日本 mf.awa.fm/3HSdff8 00:00 Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' - I. Adagio sostenuto, Presto 14:44 Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' - II. Andante con variazioni I-IV 32:16 Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' - III. Finale, Presto Violin Sonata No.9 in A Major, Op.47 ''Kreutzer'' Listen to our latest mastering update: kzfaq.info/get/bejne/pcela5CW2MzZg40.html Violin: Wolfgang Schneiderhan Piano: Wilhlem Kempff Recorded in 1952, at Vienna New mastering in 2021 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr Almost forgotten version and yet magnificent (perhaps because of the bad sound restitution which is here of a quality superior to any other edition). The union of two great Beethovenians at the pinnacle of their art. The complete edition is available on youtube music and on all major music streaming platforms: kzfaq.info/get/bejne/r92FoJV9lamXdYU.html The recordings were made on Schneiderhan's home turf, in the excellent acoustic of the Mozart saal at the Konzerthaus, the artists tackling the sonatas in order of opus number. This cycle shows every sign of careful preparation - to the extent of using a new Urtextedition. One is struck by the aptness of the partnership, arising as much from the differences between the players as from their similarities. Kempff has sometimes been accused of taking a lightweight view of Beethoven and conversely Schneiderhan has been criticized on occasion for being too serious. By one of those lucky chances of chemistry, the two of them create a synergy which emphasizes their virtues and cancels out their negative points. The performances rest on a solid foundation of luminous piano and violin tone, generous phrasing and a mutual rhythm which seems to bubble up from within the music. Beethoven's 9th violin sonata, commonly known as the Kreutzer Sonata, was published as his Op. 47. It is known for its demanding violin part, unusual length (a typical rendition taking around 40 minutes), and emotional scope - while the first movement is predominantly furious, the second is meditative and the third joyous and exuberant. Originally dedicated to violinist George Bridgetower who performed it sight-reading with Beethoven at the 1803 premiere it was later rededicated to Rodolphe Kreutzer, widely considered the finest violinist of the day. The reason for the change was that, apparently, Bridgetower had insulted a woman cherished by Beethoven. Kreutzer, however never performed the work, considering it unintelligible. It is said that, in fact, he did not really care for Beethoven's music. The first movement is introduced adagio in the key of A major by the violin. After the entrance of the piano and a passage in minor begins a vehement presto, the framework of this movement which ends on an energetic coda after a brief recall of the theme of the adagio. The contrast is striking with the softness of the second movement, superb and ample variations in the key of F major. The calm is suddenly broken by the entry of the third movement, a virtuosic and exuberant piece in tarantella form, originally composed for the Sonata for Violin and Piano Op.30 No.13,6, which ends in a frantic rush, as if by exhaustion of both instruments. Rare are the duet sonatas where the duality of the instruments is so emphasized: the composer declared that he had written this sonata in the style of a concerto, and musicologist Chantavoine described the first and third movements as "a veritable corps à corps between the two instruments. Ludwig Van Beethoven PLAYLIST (reference recordings): kzfaq.info/get/bejne/jbuJmLyksbOwpac.html

The recordings were made on Schneiderhan's home turf, in the excellent acoustic of the Mozart saal at the Konzerthaus, the artists tackling the sonatas in order of opus number. This cycle shows every sign of careful preparation - to the extent of using a new Urtextedition. One is struck by the aptness of the partnership, arising as much from the differences between the players as from their similarities. Kempff has sometimes been accused of taking a lightweight view of Beethoven and conversely Schneiderhan has been criticized on occasion for being too serious. By one of those lucky chances of chemistry, the two of them create a synergy which emphasizes their virtues and cancels out their negative points. The performances rest on a solid foundation of luminous piano and violin tone, generous phrasing and a mutual rhythm which seems to bubble up from within the music. Almost forgotten version and yet magnificent (perhaps because of the bad sound restitution which is here of a quality superior to any other edition). The union of two great Beethovenians at the pinnacle of their art. The complete edition is available on youtube music and on all major music streaming platforms: kzfaq.info/get/bejne/r92FoJV9lamXdYU.html Beethoven's 9th violin sonata, commonly known as the Kreutzer Sonata, was published as his Op. 47. It is known for its demanding violin part, unusual length (a typical rendition taking around 40 minutes), and emotional scope - while the first movement is predominantly furious, the second is meditative and the third joyous and exuberant. Originally dedicated to violinist George Bridgetower who performed it sight-reading with Beethoven at the 1803 premiere it was later rededicated to Rodolphe Kreutzer, widely considered the finest violinist of the day. The reason for the change was that, apparently, Bridgetower had insulted a woman cherished by Beethoven. Kreutzer, however never performed the work, considering it unintelligible. It is said that, in fact, he did not really care for Beethoven's music. The first movement is introduced adagio in the key of A major by the violin. After the entrance of the piano and a passage in minor begins a vehement presto, the framework of this movement which ends on an energetic coda after a brief recall of the theme of the adagio. The contrast is striking with the softness of the second movement, superb and ample variations in the key of F major. The calm is suddenly broken by the entry of the third movement, a virtuosic and exuberant piece in tarantella form, originally composed for the Sonata for Violin and Piano Op.30 No.13,6, which ends in a frantic rush, as if by exhaustion of both instruments. Rare are the duet sonatas where the duality of the instruments is so emphasized: the composer declared that he had written this sonata in the style of a concerto, and musicologist Chantavoine described the first and third movements as "a veritable corps à corps between the two instruments. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/370zcMg ❤ If you like CM//RR content, please consider membership at our Patreon page. Thank you :) www.patreon.com/cmrr

Thank you from the bottom of my heart for the beautiful music!!! Bravissimo!!!❤❤❤👏👏👏👏👏👏👏👏👏🌹🌹🌹🌹🌹🌹🌹

All the very essence of this sonata are shown in this greatest performance.

Какая музыка... Лучшее, что я слышал для скрипки и фортепиано..

Wunderschöne und spannende Interpretation dieser perfekt komponierten Sonate in verschiedenen Tempi mit seidigem doch gut phrasiertem Ton der unvergleichlichen Violine und klar artikuliertem doch warmhertigem Klang des ebenso unvergleichlichen Klaviers. Der zweite Satz klingt besonders schön und echt melodisch. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Die verbesserte Tonqualität ist auch erstaunlich hoch als eine Originalaufnahme von siebzig Jahren vor. Wunderbar und atemberaubend zugleich!

Kempff also recorded this sonata with Christian Ferras and Menuhin: both great. This recording with Schneiderhan is also up to his very high standards in chamber music. Just heard Kavakos trying hard to be original with a pianist called Pace. We are hereby reminded that all the greats keep it light despite the intensity of the piece. Kempff is the ideal pianist for this music, whomever he chooses to play with. And I'm sure the list is longer than one could imagine.

Beethoven has some greatest things and this is one of them

The only one who didn't like this sonata is Kreutzer himself !

아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🎹🌿🍀☘🌹🌹☘🍀🌿❤❤수고 많으셨습니다~☕

Excellent performancee and recording. Thanks very much for this upload.

Thank you.

Thank you very much listening this excellent performance of blessed Between 🙌

..." kreutzer", obra - prima arrebatadora, grazie, signore,

Abençoado BEETHOVEN!!!!grata por sua obra imortal. Bálsamo para nossas almas e nossos corações 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕 💕.

Look at its length--40 minutes. Best you could hope for with a Mozart or Haydn sonata was about half that. Beethoven really brought musical form into the Romantic period with these "heavenly lengths" as Schumann described Schubert's Great C Major Symphony, and it was probably the Eroica written some 25 years earlier that made it possible for Schubert to realize just how long a symphony could reach, although Schubert never got to hear his last symphony much in the same way Mozart never got to hear his last three.

🕊🌟🕊 This is ABSOLUTELY BEAUTIFUL 🙏💜🙏 💜🎵💜

I'm sure Beethoven would have liked this version of this sonata a lot

Very wonderful❤️ Just heavently and amazing! 💐🌹💐🌹💐🌹💐🌹💐🌹

Thank you so much!!

Kreutzer found this sonata too 'wild'.

Sublime

Beautiful ❤

Gostei.

🌹❤🌹

😍😍😍🥰🥰🥰

This is a fake. Are other musicians in this recording