NDNDR. NDR Kultur. CD Neuheiten Sonntag 30.08.2015
Sunday, 30. August 2015, 19:15 bis 20:00
Die CD-News to listen
NDR Kultur - CD-Neuheiten - 30.08.2015 19:15
Author: Stäbler, Marcus
The German violinist Franziska Pietsch has collected valuable experiences during her years as a soloist and concertmaster at renowned orchestras. Her greatest passion, however, is chamber music. Since 2012 she has been connected to the pianist Detlev Eisinger – with whom she recorded the violin sonatas by Edward Grieg – by a close liaison.
These sonatas are three masterpieces which are heard too seldom in Germany. Grieg composed the first sonata in 1865 – the year that Jean Sibelius was born – at 22 years of age. While his role models Mendelssohn and Schumann are both still clearly discernible, the Norwegian composer already establishes his own tone here.
Franziska Pietsch - Violin. Detlev Eisinger - Piano
The first movement juxtaposes a driving, rhythmic energy with passages of intimate calm. Grieg’s music is a matter close to the performers’ hearts, as evident from every bar of the recording.
Franziska Pietsch plays the violin part with an inspired tone. In the lyrical passages she makes her instrument sing wonderfully, only to play vigorously the next moment. In the process, a broad spectrum of tonal nuances is created, resulting from the interplay with Detlev Eisinger.
Together with her musical partner she finds a well-rounded balance between violin and piano, between passion and diligence.
This mixture also prevails in the recording of the other Grieg sonatas. He composed the second sonata only two years after the first, at 24 years of age. Through the violinist Ole Bull, Grieg was intimately familiar with Norwegian folk music. This influenced the second sonata noticeably.
The two outer movements are inspired by the rhythm and the melodies of the Norwegian "Springtanz"
In the recording by Franziska Pietsch and Detlev Eisinger the sonata’s finale in particular gains a captivating drive which is perturbed again and again by passages of romantic indulgence.
The folkloristic influences are unmistakable, which ensured the immediate success of the piece in Norway. This music stoked the ambers of patriotism in the country enthralling many, but not all listeners. Especially Grieg’s patron Nils Gaade was aloof, admonishing his protégé with the words: No Grieg, you’re by no means obliged to make the next sonata this Norwegian.
Grieg, however, severely disliked being dictated to – quite the opposite in fact, professor.
The next one will be even worse, was his self-confident rebuff to the well-meaning colleague.
However, it turned out that Grieg would not honour this promise.
As he composed his third and last violin sonata almost twenty years later, he withdrew the demonstratively patriotic tone. Only in the last stanza did he unmistakably recall his Norwegian roots.
Edward Grieg integrated the folkloristic inspirations into a ripe tonal language with great expressive power. Franziska Pietsch and Detlev Eisinger demonstrate the music’s richness with a warm tone and wide arcs.
Their recording of all Grieg sonatas was released by Audite.
The order code of these recordings and of other CDs from today can be found on the internet on our website NDR de / NDR Kultur along with many details regarding the NDR Kultur programme.
This was Marcus Stäbler for NDR Kultur.