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Track(s) taken from CDA67547

Suite No 2


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: 9 minutes 28 seconds


'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!' (Classical Source)
Suite No 2 is traditionally tonal in its melodic language, at least as far as its first two movements are concerned. The opening Lebhaft (lively) is —though not so designated—another fugue, something like an updated Bach two-part invention. The second movement—marked Fließend (flowing)—has a hymn-like simplicity and purity of expression unique in all these unaccompanied violin pieces. Written without bar lines, it is possibly a transcription of (unidentified) folk sources, for the brief central section certainly sounds like a folk tune. In complete contrast, the third movement, Stürmisch (stormy), is largely based on the constant reiterations and variations of a complex idea involving ascending dotted rhythms, wide leaps, and descending triplet patterns. Hartmann seems to be systematically trying it out on different degrees of the scale and harmonizing it each time with different intervals. The last movement is marked Jazz Tempo, with the qualification Sehr robust. It proves to be a vigorous shimmy or cakewalk whose initial stamping figure becomes omnipresent before a bravura coda that ends the suite on a dissonant crushed semitone, played sforzando.

from notes by Calum MacDonald © 2007

La Suite no 2 est celle dont le langage mélodique est le plus traditionnellement tonal, du moins dans les deux premiers mouvements. Le Lebhaft (allègre) d’ouverture est —même s’il n’est pas désigné comme tel—une fugue, un peu comme un invention bachienne à deux parties modernisée. Le deuxième mouvement, marqué Fließend (fluide), a une simplicité hymnique et une pureté d’expression sans pareilles dans ces pièces pour violon sans accompagnement. Écrit sans barre de mesure, il est peut-être une transcription de sources populaires (non identifiées), la brève section centrale n’étant pas sans rappeler un air populaire. En total contraste, le troisième mouvement, Stürmisch (tempétueux), repose largement sur les constantes réitérations et variations d’une idée complexe impliquant des rythmes pointés ascendants, de larges sauts et des motifs en triolets descendants. Cette idée, Hartmann semble l’essayer systématiquement à divers degrés de la gamme, en l’harmonisant à chaque fois avec des intervalles différents. Le dernier mouvement, marqué Jazz Tempo (et qualifié de sehr robust), s’avère un vigoureux shimmy ou cakewalk, dont la figure marquante initiale devient omniprésente, avant qu’une coda de bravoure close la suite sur un dissonant demi-ton écrasé, joué sforzando.

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

Das einleitende Lebhaft ist —wenn auch nicht so bezeichnet—eine Fuge; in etwa eine auf den neuesten Stand gebrachte zweistimmige Bach-Invention. Der zweite Satz, Fließend, besitzt eine kirchenliedhafte Schlichtheit und Reinheit des Ausdrucks, die in all diesen unbegleiteten Violinstücken einzigartig ist. Sie ist ohne Taktstriche notiert und womöglich eine Transkription (unidentifizierter) Volksmusikquellen, denn der knappe Mittelteil klingt ganz wie eine Volkweise. In völligem Kontrast dazu basiert der dritte Satz, Stürmisch, weitgehend auf der stetigen Wiederholung und Variation einer komplexen Idee mit aufsteigenden punktierten Rhythmen, weiten Sprüngen und absteigenden Triolenfiguren. Hartmann scheint sie systematisch auf verschiedenen Stufen der Tonleiter auszuprobieren und harmonisiert sie jeweils mit verschiedenen Intervallen. Der letzte Satz ist mit Jazz Tempo mit der Modifizierung sehr robust überschrieben. Er stellt sich als energischer Shimmy oder Cakewalk heraus, dessen anfängliche stampfende Figur allgegenwärtig wird bevor eine bravuröse Coda die Suite mit einem dissonanten, sforzando gespielten gequälten Halbton zum Ende bringt.

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

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