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Fantasque - French Violin Sonatas by Fauré, Debussy, Ravel & Poulenc

97751 - Fantasque - French Violin Sonatas by Fauré, Debussy, Ravel & Poulenc

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Franziska Pietsch and Josu De Solaun continue their electrifying collaboration in their recording of French violin sonatas. From Fauré's nostalgic finesse to Debussy’s aphoristic dreams, from Ravel's eclectic urbanity to Poulenc's sardonic humour and heartfelt sensuality, spanning almost 70 years, the music takes you into the land of fantasque magic – the wondrous and bizarre, the outlandish and bittersweetly nostalgic, the multifaceted and humorous, and even the warmly tragic.more

Gabriel Fauré | Claude Debussy | Maurice Ravel | Francis Poulenc

Franziska Pietsch and Josu De Solaun continue their electrifying collaboration in their recording of French violin sonatas. From Fauré's nostalgic finesse to Debussy’s aphoristic dreams, from Ravel's eclectic urbanity to Poulenc's sardonic humour and heartfelt sensuality, spanning almost 70 years, the music takes you into the land of fantasque magic – the wondrous and bizarre, the outlandish and bittersweetly nostalgic, the multifaceted and humorous, and even the warmly tragic.

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Gabriel Fauré Violin Sonata No. 1 in A Major, Op. 13 (27:49) Franziska Pietsch | Josu de Solaun

Claude Debussy Violin Sonata in G Minor, L. 140 (14:26) Franziska Pietsch | Josu de Solaun

Maurice Ravel Violin Sonata No. 2 in G Major, M. 77 (17:20) Franziska Pietsch | Josu de Solaun

Francis Poulenc Violin Sonata, FP. 119 (20:12) Franziska Pietsch | Josu de Solaun



Bonustracks (02:38)

This bonus track is only available for download via the audite website.

Claude Debussy | Jascha Heifetz Beau soir, L. 6 (Arr. for Violin and Piano) (02:38) Franziska Pietsch | Josu de Solaun

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​"...A magic floats above everything [encompassing the whole work]..." (Paris, 1877, Journal de Musique)
The second album by Franziska Pietsch and her Spanish piano partner Josu De Solaun is dedicated to the multifaceted world of French violin sonatas. With their usual aplomb and artistic intensity, the duo explore emotional landscapes complementing those of their previous album. Moving on from the exuberant revelry, serious tragedy and brutal reality of the sonatas by Strauss and Shostakovich, the musicians are now roving between the poles of dream and reality.
Real experiences and emotions are reflected in a visionary dream world, external reality is mirrored internally. Inner emotions and images become reality via the music, triggering new emotions: dream and reality mirror each other. Fauré, Debussy, Ravel and Poulenc create this "mirror world" in diverse ways. The common theme is the fantastical, the magic of imagination, the poetic distance to reality and the intensive engagement with inner emotions. Thus the dream world becomes a retreat - for listeners and artists alike.

Reviews

American Record Guide | September 2020 | Joseph Magil | September 1, 2020

Franziska Pietsch is one of the few musicians whose releases I eagerly anticipate. She is a very individual artist, one of the few with a recognizableMehr lesen

Franziska Pietsch is one of the few musicians whose releases I eagerly anticipate. She is a very individual artist, one of the few with a recognizable style and interpretations unlike anyone else’s. Her recording of the violin sonata of Dmitri Shostakovich (S/O 2019) is rivalled only by the Khachatryan siblings’ (J/A 2008). Josu de Solaun did a superb job playing on that disc, and he is just as good here. Unless you want to add the sonata by Franck, who was Belgian but worked in Paris, Pietsch has collected all four of the most important French violin sonatas here. The Fauré is played beautifully, with enough propulsion in each movement but with occasional touches of rubato and tempo fluctuations to bring out interesting aspects of the score that others don’t, like their slow beginning to the finale. Going from the Fauré to the Debussy is a huge jump not only in time (41 years) but in style. We have entered the 20th Century and are well into the Great War. Fauré’s flowing melodies are replaced by fractured phrases and sudden, brief outbursts. I call this style of composition stream of consciousness. The duo is perfectly comfortable with this and understand it from the inside out. Again, their interpretation is unique. As in the Fauré, they take a bit of time to build energy in the finale, to good effect. Pietsch displays a wonderfully wide tonal palette in this sonata, which needs it more than any other violin sonata composed up to its time. Ravel’s sonata was completed in 1927, 10 years after Debussy’s, and it shows it. The first movement has a dignity and stateliness inspired by the postwar neoclassical movement. II, 'Blues’, is strongly influenced by American blacks, who were beginning to travel to Paris to perform at clubs and in shows like the Revue Negre of 1925, where Josephine Baker made her European debut. Pietsch and Solaun bring a smoky character to the movement. Their perpetual motion finale is fleet and bumptious at the same time. Francis Poulenc’s Violin Sonata was written in 1943, during the occupation. The piece is clearly a cri de coeur, and the duo bring out its pathos like few others, characterizing the various sections with great vividness. This is great, big-hearted playing. Only Nadja Salerno-Sonnenberg and Anne-Marie McDermott are in this league (M/A 2006). Audite’s sound is superb, very full yet clear. The piano has a huge, rich sound without ever overbalancing the violin. Solaun’s booklet notes are very good. Pietsch’s instrument was made by the Milanese violin maker Carlo Antonio Testore in 1751.
Franziska Pietsch is one of the few musicians whose releases I eagerly anticipate. She is a very individual artist, one of the few with a recognizable

Neue Musikzeitung
Neue Musikzeitung | Jg. 69 - Nr. 9/2020 | Hanspeter Krellmann | September 1, 2020 | source: https://www.nmz.... unüberhörbar

„Fantasque“ charakterisiert die vier Sonaten und ihre überzeugend geschlossene Wiedergabe. Denn so „wunderbar“ wie „phantastisch“ durchdringt Franziska Pietsch diese geistreich, aber auch emotional geprägte Musik, lässt sie künstlerisch hochsensibel und klangschön erblühen.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
„Fantasque“ charakterisiert die vier Sonaten und ihre überzeugend geschlossene Wiedergabe. Denn so „wunderbar“ wie „phantastisch“ durchdringt Franziska Pietsch diese geistreich, aber auch emotional geprägte Musik, lässt sie künstlerisch hochsensibel und klangschön erblühen.

Fanfare | August 2020 | Huntley Dent | August 1, 2020

A commentator once made the observation that Fauré stood for the feminine qualities in music, in that his style was “flexible, smooth, circumspect,Mehr lesen

A commentator once made the observation that Fauré stood for the feminine qualities in music, in that his style was “flexible, smooth, circumspect, shimmering, and witty.” There’s scarcely wit in Fauré’s Violin Sonata No. 1, but the other adjectives are fitting; they could generally be applied to the three later French violin sonatas on this new release. Franck gave the genre of the violin sonata a new stature in France, but after the defeat of the Franco-Prussian War, there was a xenophobic backlash in Parisian musical circles. A much better predictor of the future is Fauré’s gentle dreaminess than Franck’s ambitiousness.

The much-admired German violinist Franziska Pietsch, who was born in East Germany in 1969 and began as a child prodigy, has already recorded the Franck Violin Sonata. She has had to shift into a different sound world for Fauré and the three other composers whose sonatas she plays in chronological order. The span is from 1877, when the Fauré received its Paris premiere at the rabidly nationalistic Société Nationale de Musique, to 1943, when Ginette Neveu premiered Poulenc’s Violin Sonata in Nazi-occupied Paris.

Fauré had for all intents and purposes patented a liquid style that is most apparent in the wash of sound produced by the piano in his chamber works. The constant passagework and arpeggiated chords risk monotony, and Pietsch is fortunate in having the superb Spanish pianist Josu De Solaun to partner with. This is their second album together, and both performers contribute their own voices, not to mention a vibrant musical imagination. The Fauré Sonata is delicately etched, and there’s a pristine quality about Pietsch’s varied tone that keeps the piece from cloying. It takes skill to balance the rhapsodic side of the music and a feeling of intimacy. De Solaun’s surges of Romantic euphoria are exciting when they appear, but Pietsch’s whispered phrasing is just as arresting.

Debussy began signing his compositions as “musician français” during World War I, and at the same time as making this patriotic gesture, his musical imagination became simpler (perhaps in the direction of populist appeal). I’ve tended to underrate the Violin Sonata of 1917, but during the Debussy centennial year Renaud Capuçon released a luminous, highly Romantic, and gorgeous-sounding version that was irresistible (Erato). Pietsch and De Solaun are startlingly different. They focus minutely on every phrase, injecting nuance at almost the microscopic scale, and in addition Pietsch uses a deliberately un-Romantic tone. Instead of being mannered, the result is utterly captivating, adding new dimensions one never suspected to exist. Their reading is the essence of the performer as a re-creative artist. There are moments, like the end of the first movement, that burst with bold exuberance, too. The opening of the second movement is so eerie that music which seemed fairly straightforward even from a great violinist like Capuçon acquires a kaleidoscopic range of color and mood. The closest kindred spirit I can think of is the equally daring and innovative Patricia Kopatchinskaja (there’s a strong kindship with Vilde Frang as well).

My shorthand for this style is that the violin is made to “speak” with the inflections of the human voice. As applied to the Ravel Violin Sonata, the effect is as magical as in the previous two pieces, and De Solaun shows a capacity for finding wonderfully expressive gestures in the piano part. Everyone remembers the second movement, titled “Blues,” which evokes a smoky den that isn’t quite in Harlem, more on the Left Bank. Pietsch’s delivery is slinkier than anyone I’ve heard before (a compliment). The finale may be titled “Perpetuum mobile,” but these performers go from a halting opening that sounds like a Motel T Ford with a balky starter to an angry buzzing wasp once the movement begins its rapid flight maneuvers.

I’d never heard the Poulenc Violin Sonata before (counting his previous attempts, it is at least his fourth try in the genre), and I anticipated something witty and slick, insouciant and clever by turns. Those might be accurate descriptions, but Pietsch responds to the historical moment in occupied Paris and adds an edge of desperate, frenetic energy that is very apt. The piece makes a good pair with the Ravel as two cabaret sonatas. Poulenc is often at his best in chamber music, and his Violin Sonata mixes cheery melodies, sentimentality, and a world-weary semblance to Edith Piaf. The present performance, like everything else here, is a wonder.

I cannot exaggerate the imagination and creative reach of this album. On the surface it replicates dozens of recordings of the Fauré, Debussy, and Ravel sonatas, but the music-making is entirely personal and unique. I’m avid now for anything Pietsch and De Solaun record.
A commentator once made the observation that Fauré stood for the feminine qualities in music, in that his style was “flexible, smooth, circumspect,

WDR 3
WDR 3 | TonArt 06.07.20, 15:05-17:45 Uhr | Wibke Gerking | July 6, 2020 BROADCAST

Poulenc Musik liegt den beiden Musikern am besten: Hier kann Franziska Pietsch ganz frei ihren großen Ton und ihr Temperament ausspielen [...] Das Zuhören macht trotzdem auf der ganzen CD Spaß, denn die große musikalische Linie stimmt, die Spielfreude auch, und die Musikauswahl ist wunderbar. Wer die besten Violinsonaten aus 70 Jahren französischer Musikgeschichte auf einer CD versammelt und ansprechend präsentiert haben möchte: der liegt mit dieser CD richtig!Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Poulenc Musik liegt den beiden Musikern am besten: Hier kann Franziska Pietsch ganz frei ihren großen Ton und ihr Temperament ausspielen [...] Das Zuhören macht trotzdem auf der ganzen CD Spaß, denn die große musikalische Linie stimmt, die Spielfreude auch, und die Musikauswahl ist wunderbar. Wer die besten Violinsonaten aus 70 Jahren französischer Musikgeschichte auf einer CD versammelt und ansprechend präsentiert haben möchte: der liegt mit dieser CD richtig!

Augsburger Allgemeine | FREITAG, 19. JUNI 2020. Nr. 139 | Stefan Dosch | June 19, 2020 Durch Frankreich mit der Violine

Zu den Qualitäten dieser Einspielung gehört, mit welch farbiger geigerischer Palette Franziska Pietsch die stilistischen Besonderheiten der vier Kompositionen herausarbeitet: Das sehnsuchtsvolle Drängen von Faurés A-Dur- Sonate ebenso wie den geheimnisvoll-fantastischen Duktus Debussys, während Ravels Sonate in gläsern-gehärter Anmutung aufscheint und die Poulenc-Sonate zum Kaleidoskop verschiedenster Stimmungen und Anspielungen gerät.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Zu den Qualitäten dieser Einspielung gehört, mit welch farbiger geigerischer Palette Franziska Pietsch die stilistischen Besonderheiten der vier Kompositionen herausarbeitet: Das sehnsuchtsvolle Drängen von Faurés A-Dur- Sonate ebenso wie den geheimnisvoll-fantastischen Duktus Debussys, während Ravels Sonate in gläsern-gehärter Anmutung aufscheint und die Poulenc-Sonate zum Kaleidoskop verschiedenster Stimmungen und Anspielungen gerät.

Scherzo
Scherzo | N° 363 - Junio 2020 | Santiago Martín Bermúdez | June 1, 2020

Recuerdo dos CD de Franziska Pietsch dedicados a Prokofiev: conciertos yMehr lesen

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Recuerdo dos CD de Franziska Pietsch dedicados a Prokofiev: conciertos y

Las Bandas | Número 31 - Maig 2020 | Alexis Moya | May 31, 2020 Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano

Franziska Pietsch y Josu de Solaun han publicado Fantasque, un disco conMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Franziska Pietsch y Josu de Solaun han publicado Fantasque, un disco con

www.beckmesser.com | mayo 23, 2020 | May 23, 2020 | source: https://www.beck... Josu de Solaun y Franziska Pietsch presentan nuevo disco
El álbum incluye obras de los compositores franceses Fauré, Debussy, Ravel y Poulenc bajo el sello alemán Audite

En este segundo disco de Pietsch y De Solaun para Audite, [...] el dúo explora paisajes emocionales que complementan los de su álbum anterior. El tema común es lo fantástico, la magia de la imaginación, la distancia poética de la realidad y el compromiso intensivo con las emociones internas. De este modo, el mundo de los sueños se convierte en un refugio, tanto para los oyentes como para los artistas.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
En este segundo disco de Pietsch y De Solaun para Audite, [...] el dúo explora paisajes emocionales que complementan los de su álbum anterior. El tema común es lo fantástico, la magia de la imaginación, la distancia poética de la realidad y el compromiso intensivo con las emociones internas. De este modo, el mundo de los sueños se convierte en un refugio, tanto para los oyentes como para los artistas.

Toda La Música | 19.05.2020 | May 19, 2020 | source: https://www.toda... Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano
Fauré, Debussy, Ravel y Pulenc

La violinista alemana y el pianista español rinden tributo a losMehr lesen

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La violinista alemana y el pianista español rinden tributo a los

Melómano Digital | 18/05/2020 | May 18, 2020 | source: https://www.melo... Franziska Pietsch y Josu de Solaun publican un disco con obras de Fauré, Debussy, Ravel y Poulenc
Se trata de un programa de sonatas para violín y piano editado con el sello alemán Audite

Franziska Pietsch y Josu de Solaun han publicado ‘Fantasque’, un discoMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Franziska Pietsch y Josu de Solaun han publicado ‘Fantasque’, un disco

Cartagena Actualidad | mayo 18 2020 | May 18, 2020 | source: http://www.carta... Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano de Fauré, Debussy, Ravel y Poulenc

La violinista alemana y el pianista español rinden tributo a losMehr lesen

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La violinista alemana y el pianista español rinden tributo a los

Confederación Española de Sociedades Musicales | 18 de mayo de 2020 | May 18, 2020 | source: https://coessm.o... Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano de Fauré, Debussy, Ravel y Poulenc

La violinista alemana y el pianista valenciano rinden tributo a losMehr lesen

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La violinista alemana y el pianista valenciano rinden tributo a los

Murcia Actualidad | 18 de mayo de 2020 | May 18, 2020 | source: https://murciaac... Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano de Fauré, Debussy, Ravel y Poulenc

La violinista alemana y el pianista español rinden tributo a losMehr lesen

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La violinista alemana y el pianista español rinden tributo a los

Scherzo
Scherzo | 14/05/2020 | May 14, 2020 | source: https://scherzo.... Josu de Solaun graba un nuevo disco en dúo con la violinista Franziska Pietsch

La discografía de Josu de Solaun se enriquece de un nuevo capítulo. El sello Audite acaba de publicar Fantasque, la última grabación del dúo formado por el pianista español y la violinista Franziska Pietsch. El programa del disco, grabado el pasado mes de octubre en la Jesus-Christus-Kirche de Berlín, explora la vertiente francesa del repertorio para violín y piano con sonatas de Gabriel Fauré (nº 1 op. 13), Claude Debussy, Maurice Ravel y Francis Poulenc.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
La discografía de Josu de Solaun se enriquece de un nuevo capítulo. El sello Audite acaba de publicar Fantasque, la última grabación del dúo formado por el pianista español y la violinista Franziska Pietsch. El programa del disco, grabado el pasado mes de octubre en la Jesus-Christus-Kirche de Berlín, explora la vertiente francesa del repertorio para violín y piano con sonatas de Gabriel Fauré (nº 1 op. 13), Claude Debussy, Maurice Ravel y Francis Poulenc.

www.pizzicato.lu | 11/05/2020 | Remy Franck | May 11, 2020 | source: https://www.pizz... Nichts für Musikphilister

Fauré hat den ersten Satz seiner Violinsonate mit Allegro molto überschrieben. Und so spielen ihn die meisten Geiger, darunter Francescatti,Mehr lesen

Fauré hat den ersten Satz seiner Violinsonate mit Allegro molto überschrieben. Und so spielen ihn die meisten Geiger, darunter Francescatti, Heifetz, Grumiaux, Amoyal…Sie brauchen für den Satz zwischen siebeneinhalb und etwas über neun Minuten. Das Duo Pietsch Solaun nimmt sich dafür 10 Minuten und 27 Sekunden. Und das bringt ungemein viel. Aus dem oft bloß flüssig gespielten Stück wird eine eminent bedeutsame Musik, ein leidenschaftlicher Dialog zwischen Klavier und der Violine, die sich wie eine Katze um das große Schwarze dreht, mal anschmiegsam, mal Köpfchen gebend oder den Hintern hochhebend, um sich dann auch g’schamig unter dem Klavier zu verstecken. Es sind großartige Stimmungen, die diese Musik so reich werden lassen, wie ich sie noch nie gehört habe. Wunderbar lyrisch und ausdrucksvoll ist das Andante, hinreißend verspielt und keck das Allegro vivo mit seinem reflektiven Mittelteil, der die Energie speichert für die brillante Coda. Eine leidenschaftlich eloquente Interpretation des Schlusssatzes beendet diese Aufführung, die in der Erzählkunst weit über die gelackten Darbietungen anderer Duos hinausgeht.

Und wenn Debussy den zweiten Satz seiner Sonate mit Fantasque überschrieben hat (er gab der CD ihren Titel) dann spüren Pietsch und Solaun dem Fantastischen schon ganz klar im ersten Satz nach. Wo andere Geiger, Oistrach etwa, der Sonate einen eher mysteriösen Touch geben, gehen die beiden hier vereinten Musiker voll zu Sache und ergründen die merkwürdige Unruhe dieses Satzes, den sie genauso fantasque gestalten wie den Rest dieser seltsamen Sonate, die in vielen Interpretationen klassischen Bahnen folgt, wo alles seinen Platz hat, während hier mit ganz eigenwilligen Temporückungen und Akzentuierungen die Sonate die Qualität einer Paraphrasierung des Fragezeichens und des Gedankenstrichs erlangt, wobei das Ausrufezeichen einen schweren Stand hat.

Die G-Dur-Sonate von Ravel wird nicht weniger eloquent gespielt, das oft Draufgängerische des einleitenden Allegrettos weicht einem sehr sinnlichen Musizieren, das mit seiner artistischen Klugheit und Kühnheit bezaubert. Und wenn Sie den Blues einmal als Parodie hören wollen, dann ist diese CD die richtige Adresse. So schräg!

Die fesselnde Spontaneität, die die ersten zwei Sätze auszeichnet, gilt auch als Merkmal des Finalsatzes, dessen musikalische Intensität berauschend ist.

Mit der Poulenc-Sonate beschließen Franziska Pietsch und Josu de Solaun ihr Programm. Im Vergleich zu der Kopatchinskaja-Leschenko-Einspielung wirkt die Interpretation des ersten Satzes nicht so einspurig drängend, sondern viel variabler. Es ist keine Autobahnfahrt auf der Überholspur, sondern eine Fahrt über eine unebene Landstraße. Wenn der Pianist mit glöckchenähnlichen Klängen das Intermezzo einläutet, weiß man schon, dass auch dieser Satz sehr besonders werden wird. Und im Finale überbietet das Duo wiederum die beiden vorhin genannten Musikerinnen, weil die Tragikomödie genüsslich sarkastisch zum Ausdruck kommt. Die Freiheit ist groß hier, die groteske Gestik noch reicher. Fantasque. Der Titel der CD ist mehr als Programm. Er ist Grundlage der Interpretation aller Stücke.

Ich habe vorhin das Wort ‘Kühnheit’ gebraucht. In der Tat sind die vier Sonaten hier in ganz speziellen Interpretationen zu hören. Es wird Leute geben, die das nicht mögen, die lieber beim Glatten bleiben. Solche Musikphilister werden durch diese unerhört geistreichen Interpretationen erschreckt werden. Wer sich aber auf die Musik einlässt, wird von dem Fantastischen, das Frau Pietsch und Herr de Solaun produzieren, begeistert sein.

The first movement of Fauré’s Violin Sonata is an Allegro molto, and that’s like we mostly hear it. Francescatti, Heifetz, Grumiaux and Amoyal play it in between seven and a half and just over nine minutes. With 10 minutes and 27 seconds the duo Pietsch-Solaun is slower. And that’s really rewarding. The piece is no longer simply fluid, but turns into an eminently significant music, a passionate dialogue between the piano and the violin, which turns around the big black one like a cat, sometimes cuddly, sometimes giving head or lifting its butt, only to then also hide shamefully under the piano. Great moods make this music as rich as I have never heard it before. The Andante is wonderfully lyrical and expressive, followed by a ravishingly playful and bold Allegro vivo with its reflective middle section, which stores the energy for the brilliant coda. A passionately eloquent interpretation of the final movement concludes this performance, which in its narrative artistry goes far beyond the lacquered recordings of other duos.

Debussy called the second movement of his sonata Fantasque (it gave the CD its title), yet Pietsch and Solaun already trace the fantastic element in the first movement. Where other violinists, Oistrakh for instance, give the sonata a rather mysterious touch, the two musicians focus on the movement’s restlessness, which they make just as fantasque as the rest of this strange sonata, which in many interpretations follows classical paths, where everything has its place, while here, with quite idiosyncratic tempo shifts and accentuations, it becomes a paraphrase of the question mark and the dash, whereby the exclamation mark has a hard time.

Ravel’s Sonata in G major is played no less eloquently, the often urgent of the introductory Allegretto giving way to a very sensual music-making that enchants with its artistic cleverness and audacity. And if you ever want to hear the blues as a delightful parody, this CD is the right address. So weird!

The captivating spontaneity that distinguishes the first two movements is also a characteristic of the final movement, whose musical intensity is intoxicating.
Franziska Pietsch and Josu de Solaun conclude their programme with the Poulenc Sonata. In comparison to the Kopatchinskaja-Leschenko recording, the interpretation of the first movement does not seem simply urgent, but much more flexible. It is not a motorway journey in the fast lane, but a ride on an uneven country road. When the pianist introduces the intermezzo with bell-like sounds, one already knows that this movement will also be very special. And in the finale, the duo again outdoes the two musicians mentioned earlier, because the tragicomedy is expressed with so much sarcasm. The freedom is great here, and the grotesque richer. Fantasque. The title of the CD is more than a programme. It is the basis for the interpretation of all pieces.
Earlier I used the word ‘audacity’. No doubt that there will be people who don’t like such very special interpretations, preferring straight and simple performances with just French refinement. Such music philistines will of course be frightened by these incredibly witty interpretations. But those who get involved with the music will be thrilled by the Fantasque that Mrs Pietsch and Mr de Solaun constantly focus on.
Fauré hat den ersten Satz seiner Violinsonate mit Allegro molto überschrieben. Und so spielen ihn die meisten Geiger, darunter Francescatti,

Merchant Infos

Fantasque - French Violin Sonatas by Fauré, Debussy, Ravel & Poulenc
article number: 97.751
EAN barcode: 4022143977519
price group: BCA
release date: 8. May 2020
total time: 82 min.

News

date /
Typ
title
Rating
Sep 15, 2020
Review

American Record Guide
Franziska Pietsch is one of the few musicians whose releases I eagerly...
Sep 15, 2020
Review

Fanfare
A commentator once made the observation that Fauré stood for the feminine...
Sep 14, 2020
Review

Neue Musikzeitung
unüberhörbar
Aug 12, 2020
Review

Scherzo
Recuerdo dos CD de Franziska Pietsch dedicados a Prokofiev: conciertos y...
Jul 6, 2020
Info

BROADCAST: WDR 3 TonArt
Aug 11, 2020
Review

WDR 3
BROADCAST
Jun 23, 2020
Review

Augsburger Allgemeine
Durch Frankreich mit der Violine
May 29, 2020
Info

Claude Debussy's Violin Sonata in G Minor, L. 140 was added to iTunes and Apple Music Playlist "Impressionism" in Germany and other countries.
Jun 2, 2020
Review

Las Bandas
Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano
May 27, 2020
Review

Confederación Española de Sociedades Musicales
Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano de Fauré, Debussy, Ravel y Poulenc
May 25, 2020
Review

www.beckmesser.com
Josu de Solaun y Franziska Pietsch presentan nuevo disco
May 25, 2020
Review

Cartagena Actualidad
Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano de Fauré, Debussy, Ravel y Poulenc
May 20, 2020
Review

Murcia Actualidad
Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano de Fauré, Debussy, Ravel y Poulenc
May 20, 2020
Review

Melómano Digital
Franziska Pietsch y Josu de Solaun publican un disco con obras de Fauré, Debussy, Ravel y Poulenc
May 20, 2020
Review

Toda La Música
Franziska Pietsch y Josu de Solaun publican un disco con sonatas para violín y piano
May 18, 2020
Review

Scherzo
Josu de Solaun graba un nuevo disco en dúo con la violinista Franziska Pietsch
May 8, 2020
Info

"Fantasque" was added to iTunes Album Charts in USA, Switzerland, Russia and Italy
May 8, 2020
Info

"Fantasque" is listed as a new release on the classical main pages of Highresaudio.com, iTunes, Apple Music and Qobuz
May 8, 2020
Info

The first movement 'Allegro con fuoco' from Poulenc's Violin Sonata FP. 119 was added to iTunes and Apple Music Playlist "Classical Motivation" in Germany and other countries.
May 8, 2020
Info

Debussy's Allegro vivo from Violin Sonata in G Minor, L. 140 was added to iTunes and Apple Music Playlist "The A-List: Classical" in Germany and other countries.
May 8, 2020
Info

Debussy's "Beau soir" (arr. for Violin and Piano) was added to Spotify's playlist "Classical New Releases - Spotify Picks" (#4) from 8th until 14th May 2020.
May 11, 2020
Award

Supersonic - Fantasque - French Violin Sonatas by Fauré, Debussy, Ravel & Poulenc
May 11, 2020
Review

www.pizzicato.lu
Nichts für Musikphilister
Apr 24, 2020
Info

The third movement 'Allegro vivo' from Fauré's Violin Sonata was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 24th April until 1st May 2020.
Mar 27, 2020
Info

The first movement 'Allegro con fuoco' from Poulenc's Violin Sonata FP. 119 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 27th March until 3rd April 2020.
Mar 29, 2020
Info

Fauré's 'Allegro vivo' from Violin Sonata No. 1 in A Major was pitched for different Curated Classical Playlists.
Mar 18, 2020
Info

Poulenc's 'Presto tragico' from Violin Sonata, FP. 119 was pitched for different Curated Classical Playlists
Mar 1, 2020
Info

BROADCAST: SWR 2 "Musikgespräch"
Feb 20, 2020
Info

Debussy's 'Allegro vivo' from Violin Sonata in G Minor, L. 140 pitched for different Curated Classical Playlists
Feb 26, 2020
Info

Poulenc's 'Allegro con fuoco' from Violin Sonata, FP. 119 pitched for different Curated Classical Playlists
Feb 26, 2020
Info

Debussy's 'Finale' from Violin Sonata in G Minor, L. 140 pitched for different Curated Classical Playlists

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