Ludwig van Beethoven
Sonata for Piano and Violin No.2 in A major, op.12/2
Media Review / Comparison
2011-11-09 — Original posting (on Blogger)
2013-07-04 — New standard layout applied
2014-10-31 — Re-posting as is (WordPress)
2016-06-22 — Brushed up for better readability
Table of Contents
Introduction
This is the second note on the recordings of Beethoven’s sonatas for piano & violin in my music collection, about the sonata in A, op.12/2 — references to the CDs are given at the bottom of the respective section, or in one of the related postings, or see the summary on the postings covering Beethoven’s Sonatas for Piano & Violin.
Below you find my comments on the recordings that I have for the Sonata for Piano and Violin No.2 in A major, op.12/2 by Ludwig van Beethoven (1770 – 1827). Here’s a short list of the recordings in this comparison, in alphabetic order:
- Renaud Capuçon & Frank Braley (2009)
- Isabelle Faust & Alexander Melnikov (2008)
- Arthur Grumiaux & Clara Haskil (1956)
- Gidon Kremer & Martha Argerich (1985)
- Yehudi Menuhin & Wilhelm Kempff (1970)
- David Oistrakh & Lev Oborin (1962)
- Itzhak Perlman & Vladimir Ashkenazy (1973)
The Movements
The movements in this sonata are
- Allegro vivace (6/8)
- Andante più tosto allegretto (2/4)
- Allegro piacevole (3/4)
The (measured) metronome numbers are approximate values only.
Comments on the Interpretations
Yehudi Menuhin, Wilhelm Kempff (1970)
Beethoven, The Complete Violin Sonatas, Vol.1: Sonatas opp.12, 23, 24; Rondo in G, WoO 41; 12 Variations on “Se vuol ballare” from “Le nozze di Figaro”
Yehudi Menuhin, Wilhelm Kempff
DGG 459 433-2 (stereo, 2 CD); ℗ 1970
Yehudi Menuhin and Wilhelm Kempff (1970) — for CD information and general comments see op.12/1
Comments on the Performance
- 7’05”; 3/8 = 98
allegretto at best: not fast enough, definitely not allegro vivace! - 5’21”; 1/4 = 52
The piano is too loud and coarse - 5’27”; 1/4 = 200
Same here.
| Recommendation: | no |
| Rating: | 2.3 (2 / 3 / 2) |
David Oistrakh, Lev Oborin (1962)
Beethoven: The Sonatas for Piano and Violin (opp. 12, 23, 24, 30, 47, 96)
Philips 468 406-2 (stereo, 4 CD); ℗ 2001
David Oistrakh and Lev Oborin (1962) — for CD information and general comments see op.12/1
Comments on the Performance
- 6’56”; 3/8 = 102
Just like Menuhin: this is not allegro vicace in the first movement! - 6’04”; 1/4 = 44
Same here: this is definitely too slow for an Andante più tosto allegretto: the melodies sound overstretched, and the heavy interpretation makes it sound even slower. And I dislike excessive portamenti! - 5’08”; 1/4 = 210
| Recommendation: | no, unfortunately |
| Rating: | 2.7 (3 / 2 / 3) |
Arthur Grumiaux, Clara Haskil (1956)
Beethoven: Violin Sonatas, Complete (opp. 12, 23, 24, 30, 47, 96)
Brilliant Classics 93329 (mono, 3 CD); licensed from Decca
Arthur Grumiaux and Clara Haskil (1956) — for CD information and general comments see op.12/1
Comments on the Performance
- 4’33” (exposition not repeated); 3/8 = 112
The rhythm is sometimes unclear, as if they hadn’t entirely mastered the tempo (and the reverberation does not help); sometimes the pace appears to “run away” (problems due to cuts?); bad control (?) also dynamically; too bad they don’t repeat the exposition. - 5’41”; 1/4 = 44
Just like with Oistrakh: too slow, definitely not even andante! - 4’31”; 1/4 = 250
For me, this is too fast, too much pushing forward, almost chased, and a bit coarse — rather than piacevole (even if that attribute only were to apply to the ritornello part of the rondo).
| Recommendation: | no |
| Rating: | 3.0 (3 / 3 / 3) |
Itzhak Perlman, Vladimir Ashkenazy (1973)
Beethoven: The Violin Sonatas, Complete (opp. 12, 23, 24, 30, 47, 96)
Itzhak Perlman, Vladimir Ashkenazy
Decca 421 453-2 (stereo, 4 CD); ℗ 1974 / © 1988
Itzhak Perlman and Vladimir Ashkenazy (1973) — for CD information and general comments see op.12/1
Comments on the Performance
- 6’27”; 3/8 = 108
allegro at best, not vivace, from the tempo — at least there is some liveliness in the interpretation, sometimes pushing forward, especially in the syncopated parts. - 5’37”; 1/4 = 48
The vibrato is too nervous - 4’56”; 1/4 = 230
Somewhat coarse rather than piacevole — and the vibrato is too nervous.
| Recommendation: | nothing special, really, I’m afraid — the first movement is the best part of this interpretation of op.12/2 |
| Rating: | 3.3 (4 / 3 / 3) |
Gidon Kremer, Martha Argerich (1985)
Beethoven: Violin Sonatas Nos.1-3 (op.12)
DG 415 138-2 (stereo); ℗ 1985
Gidon Kremer and Martha Argerich (1985) — for CD information and general comments see op.12/1
Comments on the Performance
- 5’46”; 3/8 = 118
Not sure I like their interpretation of allegro vivace: sure, it’s a fast allegro here, but some sforzati appear rushed (is that Kremer’s idea of vivace?) — and the rushing pretty much destroys the effect of the syncopes. - 5’11”; 1/4 = 50
Kremer’s articulation is often sloppy / mushy; at least, it sounds like allegretto at times. - 5’02”; 1/4 = 220
The piacevole is represented well in the ritornello parts of the Rondo, and Kremer’s “raw” tone fits well to the lively intermezzi, though the vibrato now sounds a bit fast, given historically informed performances.
| Recommendation: | I like Martha Argerich’s agility here — not sure I like Kremer’s tone; not the best of their recordings, I think. |
| Rating: | 4.0 (4 / 4 / 4) |
Renaud Capuçon, Frank Braley (2009)
Beethoven: Complete Sonatas for Violin & Piano (opp. 12, 23, 24, 30, 47, 96)
Virgin Classics LV 7873 (stereo, 3 CD); ℗ / © 2010
Renaud Capuçon and Frank Braley (2009) — for CD information and general comments see op.12/1
Comments on the Performance
- 6’29”; 3/8 = 112
The tempo in the first movement maybe is at the lower margin for an allegro vivace — when focusing on the half-bars; however, the focus here is more on the eights, making the movement sound “busy”, even though others play it faster (some would probably argue that the correct reading would be to focus on the 3/8, i.e., the half-bars). - 5’13”; 1/4 = 48
This is fine — but why did they place the microphones so close that we hear all of Capuçon’s breathing? - 4’45”; 1/4 = 230
Excellent: piacevole in the ritornello parts, dramatic in the intermezzi; they use the same tempo as Grumiaux / Haskil — but here, the tempo does not feel rushed, pushing forward, and all is precise and well articulated!
| Recommendation: | Yes, especially for their last movement! |
| Rating: | 4.3 (4 / 4 / 5) |
Isabelle Faust, Alexander Melnikov (2008)
Beethoven: Complete Sonatas for Piano & Violin (opp. 12, 23, 24, 30, 47, 96)
Isabelle Faust, Alexander Melnikov
Harmonia mundi HMC 902025.27 (stereo, 3 CD + 1 CD/DVD); ℗ 2009
Isabelle Faust and Alexander Melnikov (2008) — for CD information and general comments see op.12/1:
Comments on the Performance
- 5’51”; 3/8 = 128Just perfect: the tempo is right, I like their syncopes, the articulation in the fast passages, the occasional extra ornament — and this at a tempo that is faster than all others, yet does not feel rushed, as they (correctly) focus on the half-bars of the 6/8 measure; perfectly clear and well articulated!
- 4’56”; 1/4 = 48
A class better than all others! They don’t push the speed, but make it sound allegretto by articulation, and “built-in” ornaments are played as such, not as melodies! - 5’01”; 1/4 = 220
Perfect agreement between the two artists, both in dynamics and agogics — what else can I say?
| Recommendation: | I’m so glad I have a reference interpretation here — my favorite recording! |
| Rating: | 5.0 (5 / 5 / 5) |
Addendum
If you are not an active pianist or violinist, you might want to follow this music using a pocket score — these typically come in two volumes:
- Sonatas op.12/1 – 3, op.23, op.24 —Find pocket score (Kalmus) on amazon.com (#ad) —
- Sonatas op.30/1 – 3, op.47, op.96 —Find pocket score (Kalmus) on amazon.com (#ad) —
While musicians, of course, prefer a full size score edition, such as Henle’s, also in two volumes:
- Sonatas op.12/1 – 3, op.23, op.24 —Find full score (Henle) on amazon.com (#ad) —
- Sonatas op.30/1 – 3, op.47, op.96 —Find full score (Henle) on amazon.com (#ad) —
