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Hyperion Records

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Track(s) taken from CDA67220
Recording details: June 2000
Henry Wood Hall, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: October 2001
Total duration: 29 minutes 31 seconds

'These are sumptuously responsive performances, glowingly recorded and expertly annotated' (International Record Review)

'Fine, colourful and lyrical playing by Graffin, who contrasts effectively passages of serious intensity with moments of lighter character and repose' (The Strad)

'[Walter’s] sonata, tackled with relish by Graffin, from the turbulent first two movements to the resolution of the third. Goldmark’s suite is a delightful set of pieces (you will be smitten with the playful middle section). Full marks to Hyperion' (Classic FM Magazine)

'Philippe Graffin brings some Menuhin-like touches to his playing' (

Suite for violin and piano No 1 in D major, Op 11
published 1869

Allegro  [4'54]
Allegro molto  [8'16]

Introduction  EnglishFrançaisDeutsch
It might seem strange that Goldmark wrote so little for his own instrument, the violin, if it were not for the relative brevity of his work list. His best-known score is his Concerto in A minor, Op 28, published in 1877 and latterly a favourite of Heifetz and Milstein. On a smaller scale, there are two suites, No 1 in D major, Op 11 (published in Mainz in 1869), and No 2 in E flat, Op 43 (Berlin, 1893); there are also a D major Sonata, Op 25, of 1874, published in Mainz the following year, and a Ballade in G and Romance in A, both appearing in Vienna in 1913. The Suite in D was plainly composed under a classicising impulse, perhaps responding to the archaising mood put about in Austro-German music by Adolf Jensen’s Deutsche Suite, Op 36, written at some point in the 1860s. The English scholar and composer Harold Truscott identified Jensen’s work – in effect, a Baroque French suite, despite the name – as having injected the spirit of the seventeenth century into the middle of the nineteenth. Jensen’s suite would have been a very recent memory when Goldmark sat down to write his; whether or not the influence is direct, the impress of the Baroque on Goldmark’s Op 11 is plain to hear: an Allegro overture (E major), a Bachian Andante sostenuto (in the relative minor, C sharp), a gentle Allegro ma non troppo (E major again) that replaces the minuet with the waltz, a wistful and rather more modern Allegro moderato quasi Allegretto (A major) and a buoyant finale, marked Allegro molto (E major), where the principal melodic idea is what the Germans call an Ohrwurm, an ear-worm: once heard, it’s not readily forgotten.

from notes by Martin Anderson © 2001

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