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Track(s) taken from CDA67547

Sonata No 2

composer
1927

Alina Ibragimova (violin)
Recording details: January 2007
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: September 2007
Total duration: 14 minutes 9 seconds
 
1
Langsam, breite  [2'19]
2
3
4

Reviews

'Their [Sonatas and Suites] muscularity, contrapuntal and harmonic élan and the sense of self-belief they exude show them to be products of a formidable, free-thinking creator. Ibragimoba proves an ideal exponent, her tempi freer and more elastic (and mostly quicker) than Turban's … Ibragimova's greater fluency and flexibility pay greater dividends time and again … [Concerto funebre] Ibragimova's fiercely clear-eyed account—alive to the music's expressive demands as well as its dynamic markings—faces stiff competition but need not fear comparison with any of the dozen or so rival accounts. Her technique is formidable to say the least … Hyperion's couplings and recording quality, to say nothing of the excellent Britten Sinfonia, deserve a share in the plaudits. Recommended' (Gramophone)

'An auspicious and admirably adventurous recording debut for one of the most exciting of today's young violinists, Alina Ibragimova. With the Britten Sinfonia strings providing incisive support, she steers a committed yet level-headed course through this emotive work, bringing plenty of tonal variety and expressive subtlety to play on Hartmann's deeply felt music. These characteristics also colour her brilliant playing of the solo works, with their echoes of everything from Bach to Bartók' (The Daily Telegraph)

'Wonderfully assured … the way in which the playing of the Britten Sinfonia dovetails with hers is always compelling. Ibragimova pairs the concerto with the solo violin suites and sonatas … in these wonderfully fluent pieces, it is perfectly married with the contrapuntal ideas that Hartmann clearly derived from Bach's solo violin works; Ibragimova conveys their crispness and clarity to perfection' (The Guardian)

'Crisply and incisively argued … musicianship of the highest order' (International Record Review)

'She is Russian, 23, and a scorchingly good violinist. This is her CD recital debut; always a testing occasion, but especially for young violinists. What repertoire should be chosen? … Ibragimova has chosen the third route, towards serious and neglected repertory … Hartmann had his youthful iconoclasms, but the agony of the Second World War brought out the tragic artist in him … to the adagio section [Concerto funebre] she brings passion without mawkishness; and the control wielded at high altitudes is phenomenal. The Britten Sinfonia, led by Jacqueline Shave, make fluent sounds too, amplified by Hyperion's lively recording—close to the mike, but never in your face … Ibragimova is marvellously sturdy and exact, especially when making perilous leaps from exposed places. And she plays with such commitment and feeling … as for her next disc, the doors are wide open. But whatever Ibragimova plays, it'll be worth hearing' (The Times)

'An auspicious recording debut by the 22-year-old violinist Alina Ibragimova. Hartmann's four unaccompanied violin works … are not for the faint-hearted executant. They are, however, compelling, brilliant pieces, speaking of the sharp intellect and wide-ranging imagination of a composer who was at least the equal of Hindemith … Ibragimova brings to each piece a formidable technical and musical command, her sound always vividly coloured, her response the right mix of spontaneous passion and practised control' (The Sunday Times)

'As her performance of Hartmann's Concerto proves, Ibragimova is capable of delivering the bold, knotty statements upon which these works' success depends, with the appropriate Affekt. For example, in the First Suite, she transforms herself from a cheerful contrapuntist, in the movement entitled 'Fuga: Munter', to a relaxed chanteuse in the penultimate 'Dreiteilege Liedform', to an edgy knife thrower with Bartók-like fragments in the final Ciaconna. And the demands on her flexibility seem almost endless. The precocious Alina Ibragimova offers a program of engaging and thoughtful works that she's approached with an equally engaging, interpretive and masterfully commanding musical personality that brooks no opposition. Strongly recommended to violinists, to violin aficionados, and to general listeners of all predilections' (Fanfare, USA)

'Hartmann's invention is consistently inventive—and of real substance—and benefits from Alina Ibragimova's interpretative focus and technical security: she has clearly taken huge trouble to get inside this music and give performances of insight, dedication and bravura. Each movement emerges as an emotional testimony of Hartmann's wide-ranging stylistic craft … Ibragimova and the conductor-less Britten Sinfonia make a very strong case for Concerto funebre (1939, revised in 1959)—certainly the most convincing account this listener has heard … what impresses with this Hyperion account is how eloquent Hartmann's music is, how deeply felt it is, and how electrifying the frenetic third movement is—and wonderfully clarified in this performance … and how the composer’s emotionalism and rhythmic ingenuity is absorbed into a convincing whole. This is music with direct connection to the listener. If you don’t know the Concerto (or, indeed, any of the music here—it has taken many decades for the solo-violin works to get even a foothold on the repertoire) then Ibragimova and the Britten Sinfonia's wild-eyed enthusiasm and musical consideration—superbly recorded—could well be the best way to enter Hartmann's specific but universal world. A revelation!' (ClassicalSource.com)
Sonata No 2 has only four movements, but they show a comparable variety. In the first, a brief slow introduction prefaces a strong and muscular movement which is largely an exercise in impressive multiple-stopping and wide-leaping intervals. This is followed by ‘Variations on a Rhythmic Idea’, a brilliant study in aggressive machine rhythms. Its gestossene Achtel (pounding quavers) are directed to be played fortissimo throughout, and the sense of unstoppable motion is enhanced by a generous use of sectional repeats. In the third variation a pair of quiet double-stopped thirds mysteriously interrupts the proceedings, and these are made the basis of the movement’s unexpected final cadence. The deeply expressive slow third movement takes up the materials of the first movement and transforms them in lyrical melodic vein before receding to the violin’s lowest G. As in Sonata No 1 the finale is a fugue, marked Sehr wild und roh im Vortrag (very wild and rough in performance). It is also ferociously difficult, adding an obsessive use of dissonant intervals to its rhythmic complexities, and proves an exhilaratingly diabolic end to a remarkable work.

from notes by Calum MacDonald © 2007

La Sonate no 2 compte seulement quatre mouvements, mais toujours aussi variés. Le premier voit une brève introduction lente précéder un mouvement puissant et musculeux, qui s’apparente surtout à un impressionnant exercice de jeu en multiple corde et de larges intervalles. S’ensuivent les «Variations sur une idée rythmique», une brillante étude d’agressifs rythmes de machine. Ses gestossene Achtel (croches assénées) sont à exécuter fortissimo de bout en bout, le sentiment d’élan inarrêtable étant exacerbé par un généreux usage de répétitions par sections. Dans le troisième variation, une paire de paisibles tierces en double corde interrompt mystérieusement le cours des choses; ces tierces deviennent la base de la cadence finale, inattendue, du mouvement.

Le troisième mouvement lent, profondément expressif, transforme les matériaux du premier mouvement en une veine mélodique lyrique avant de retomber au sol le plus grave du violon. Comme dans la Sonate no 1, le finale est une fugue marquée sehr wild und roh im Vortrag (très déchaîné et brutal dans l’interprétation). Férocement difficile, elle fait un usage obsessionnel d’intervalles dissonants, qui s’ajoutent à ses complexités rythmiques, et conclut avec une diablerie grisante cette sonate remarquable.

extrait des notes rédigées par Calum MacDonald © 2007
Français: Hypérion

Die Sonate Nr. 2 hat nur vier Sätze, die jedoch eine ähnliche Vielfalt aufweisen. Im ersten führt eine knappe langsame Einleitung in einen kraftvoll-muskulösen Satz über, der weitgehend eine Übung in eindrucksvoller Mehrgrifftechnik und weiten Intervallsprüngen ist. Diesem folgen „Variationen über eine rhythmische Idee“, eine brillante Studie in aggressiven Maschinenrhythmen. Seine gestossenen Achtel sollen durchweg fortissimo gespielt werden, und das Gefühl uneinhaltbarer Bewegung wird durch den großzügigen Gebrauch von Wiederholungen der Abschnitte verstärkt. In der dritten Variation wird der Verlauf des Satzes geheimnisvoll durch ein Paar von leisen, doppelgriffigen Terzen unterbrochen, die die Grundlage seiner unerwarteten Schlusskadenz bilden. Der tief ausdrucksvolle langsame dritte Satz greift das Material des ersten Satzes wieder auf und verwandelt es lyrisch-melodisch, bis der Satz auf dem tiefsten G der Violine verklingt. Das Finale ist wie in der Sonate Nr. 1 eine Fuge, die mit Sehr wild und roh im Vortrag markiert ist. Sie ist auch teuflich schwer, indem sie rhythmischer Komplexität die besessene Verwendung dissonanter Intervalle hinzufügt, und sie bringt dieses bemerkenswerte Werk zu einem aufregenden, diabolischen Ende.

aus dem Begleittext von Calum MacDonald © 2007
Deutsch: Renate Wendel

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