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DiscountDelight - Mozart: Violin Sonatas K. 301, 304, 376 & 526
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List Price: $16.98
Our Price: $5.50
Your Save: $ 11.48 ( 68% )
Availability: Usually ships in 24 hours
Manufacturer: Deutsche Grammophon
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Average Customer Rating: 
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Binding: Audio CD
EAN: 0028947755722
Label: Deutsche Grammophon
Manufacturer: Deutsche Grammophon
Publisher: Deutsche Grammophon
Release Date: 2005-10-11
Studio: Deutsche Grammophon
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Spotlight customer reviews:
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Customer Rating:
Summary: Every note counts
Comment: There are no hiding places in Mozart, every note counts. Hilary Hahn gives every note
a flavor. This cd is a model of what treasures can be heard in Mozart when realized by a superior artist.
Customer Rating:
Summary: One of the finer new releases
Comment: With the 250th anniversary of Mozart's birthday in 2006, a new crop of Mozart recordings have been released, including many of his sonatas for violin and pianoforte. Among these are fresh recordings from Mark Steinberg/Mitsuko Uchida, Hilary Hahn/Natalie Zhu, Anne-Sofie Mutter/Lambert Orkis(Aug.'06), Andrew Manze/Richard Elgar and Rachel Podger/Gary Cooper - the latter two on period violin and period fortepiano. Depending on how one feels this music should be played will determine what most appeals to you. All of these new additions seemed to get mixed reviews from the music press. Often in these reviews, mention is made of the historic "Reference Recordings" - those superlative readings that set the standard. And in the case of Mozart's violin sonatas, we have the legendary works of Arther Grumiaux/Haskill and Szeryng/Haebler - both recorded in the 1970's - as well as Perlman/Ashkenazy. Grumiaux in particular of often cited as the standard for Mozart (for most critics) with his ever-smooth, elegant, galante manner and beautiful tonal coloration and equisite vibrato. Like the lead reviewer properly stated in the review on Rachel Podger's release, any artist undertaking such works as these best study the greats that have gone before them.
Out of these newer releases mentioned, the performance that seems to have heeded such advice is that of Hilary Hahn and Natalie Zu - whose readings exude "Mozart" the most clearly and approach the elegance and grace of the past legends. As much as I greatly admire Podger and Manze in the Baroque repertoire, I have to say their take on Mozart did not captivate me. However fans of theirs will likely find much to celebrate - and the fortepiano in those recordings certainly evokes the era of Amadeus.
While the lead reviewer can point out a few weaknesses that mainly professionals will mostly care about, the average listener will probably be thoroughly delighted in the sprightly interaction and appealing performances of this duo. Hahn is one of those performers who playing seems to eminate from her persona - that of a perfected, pure and angelic tone and line. She is always a treat to hear and her fans should adore these readings. Overall, I think she finds the right approach here and gives a winning perfomance. Mozart's music was a lot about perfection and poise (classicism) and less about rubato and exentuation, and Hahn plays to that standard. Perhaps she could "loosen the reigns" somewhat at times and alter her shaping of the music, but with such gorgeous playing as hers, such criticism can quickly become irrelevant.
As Mozart often viewed these works more as "piano sonatas with violin accompanyment," it really should be the pianist more fronted in the billing. Equally a star in this CD is Natalie Zhu who brings great dexterity and a perky legato to the music and should be more noted. While I like the sound of the fortepiano can invoke images of Mozart himself, I have to admit I much prefer the modern grand Zhu plays here for its greater depth, richer timbre and wider range of expression. So, altogether, this CD is a fine sampling of Mozart's many violin sonatas with an attrative artistry and superb sound quality. But, it is also greatly rewarding - as well as an important reference point - to experience the past legends who set the standard for this genre. Of those, my preference is the 4-CD collection by Szeryng/Haebler for its timeless, ever-so graceful appeal (Volume 1 and 2 on Philips DUO label) - although the depth and brilliance of sound quality will be slightly better with the newer recordings like this one by Hahn and Zhu.
Customer Rating:
Summary: excellent cd
Comment: I am new to these pieces, and wanted to get to know them. Miss Hahn does a wonderful job with them. the phrasing is fresh and original, and the ensemble virtually perfect.
Every piece is played with verve and enthusiasm.
Customer Rating:
Summary: A Beautiful Recording!
Comment: I grade my CD's based on how often I play them. I have not removed this recording from my CD player since I bought it. It just keeps becoming more enjoyable. Because of that, I rate this CD 5 stars and well worth it! This one has got to be one of Hilary's best. Power, brilliance and grace mark this entire recording. I have had the privilege of seeing Hilary and Natalie perform this music together so the CD also brings to life the memory of the flawless performances by these two on stage.
Highly Recommended.
Customer Rating: 
Summary: Good but not so Mozart
Comment: I heard the G Major (K.301) sonata in Hilary Hahn's recital. I absolutely melted as goon as she started playing the piece. Her tone is so full, sweet and tender. This is reflected in this CD. What is also reflected in this CD is her "flare". Although her interpretation is not so "Mozart-ish" but she does a good job interpreting the music and certainly playing it. Perlman's recording is also a good one to own. His playing is sweet but less tender. His tempo is lively but too fast and his interpretation is jolly but too casual. Perlman also doesn't emphasize too much the details. It's hard for me to recommand one over the other but you can't go wrong with Hahn's recording. Personally, I prefer Hahn's. Her tonal beauty has kept me enchanted since I bought her Brahms/Stravinsky CD a few years ago. I also prefer her taking the time to show the many little details many people over look in Mozart. I also have Grumiaux's recording which is inferior to Hahn and Perlman in tone. In interpretation, Grumiaux was way too old school. He lacked "flare" Hahn posess. I only wish Hahn's interpretation can be more old school. Her interpretation in combination with her silky tone is already making her playing sound "heavy" and old school. I just wish there could be more old-schoolism in her playing. This is why I only give her 4 stars. Nonethelss, I recommand this recording. If you also have a chance to see her in recital, you will certainly agree with my views.
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Editorial Reviews:
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Hilary Hahn is a splendid violinist, with an easy, flawless technique and a tone of pristine purity. She has already gained a reputation as a singularly serious performer; even her photographs show her in strikingly thoughtful poses. Indeed, her approach to the four Mozart sonatas on this recording seems to be almost too thoughtful: everything is so carefully planned that there is no room for imagination or spontaneity. Her tone is invariably beautiful but never varies in color or intensity; shifts of mood and character are heralded with tempo changes, ritards, breaks, and long pauses, even when Mozart clearly indicates a connection, as in the Finale of the Sonata K. 526. The ensemble with her long-time friend and partner Natalie Zhu is excellent, but they seem to have agreed to disagree on certain points, such as the execution of trills and ornaments, and the articulation of short notes: Hahn's playing is rounder and more lyrical, Zhu's brisker and more pointed. Both follow the current trend of superimposing dynamics and contrasts on the written score, as if they did not trust the music to speak for itself, but this only results in fussiness and a loss of continuity and simplicity. However, the balance is so good that the interchange between more and less prominent voices comes out perfectly. --Edith Eisler
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