e33 CD / Carl Nielsen: Violin Sonatas

3 reviews for e33 CD / Carl Nielsen: Violin Sonatas

1. Ensemble – 1. May 2005

   Fiery Commitment
   If Brahms did not like someone, he made sure they felt it. Anecdotes about how he would scold young composers he deemed untalented are legion. It is therefore noteworthy when he treated a young composer with goodwill—for example, the Dane Carl Nielsen. Nielsen composed his first violin sonata entirely in the spirit of Brahmsian aesthetics. The work unfolds with tightly interwoven motifs, supported by solidly constructed inner voices, and on such a secure foundation represents the rich “symphonic” chamber-music style. Adrian Adlam, known as artistic director of the Fredener Musiktage, which specializes in chamber-music discoveries, together with pianist Christopher Oakden, presents not only the Brahms disciple Nielsen, but also the mature master who finds his way to a freer, more floating tonality—while, of course, Brahmsian structural principles continue to serve him faithfully. Nielsen’s second violin sonata of 1912, for example, is a prototype of this principle and already foreshadows milestones such as his 1916 completed symphony The Inextinguishable. Adlam and Oakden interpret with the same fiery commitment that one can also encounter at Freden. Adlam further reveals himself to be a competent booklet author.
   Oliver Buslau

2. Pizzicato – 1. March 2005

   Fifty-eight minutes of pure enjoyment are offered by this CD, featuring two little-known musicians and three equally little-known works by Carl Nielsen. It quickly becomes clear that this recording is a double stroke of luck. The listener becomes acquainted with three wonderful works and discovers Nielsen as an extraordinary chamber musician. The two sonatas for violin and piano reveal a highly individual sense of style, and while the second sonata inevitably recalls Nielsen’s symphonic output—especially the Fourth Symphony—both works present chamber music of the highest level. Equally intriguing is the Prelude and Theme with Variations for solo violin, a definite enrichment for this genre.
   That these works come across so effortlessly and brilliantly is due to the two soloists, Adrian Adlam and Christopher Oakden. Both need not shy away from comparison with international stars, as their technical mastery and interpretive skill are first-rate. Adlam’s violin playing—especially evident in Op. 48—is remarkable for its superb technique and his ability to make the music compelling at every moment. His style often recalls Christian Tetzlaff: cool, well-considered bowing paired with a keen sense of rhythm, color, and dynamics. Christopher Oakden on piano demonstrates that he is equally a sensitive chamber musician. His playing possesses the same naturalness, transparency, and tonal beauty as his partner’s. Together, they deliver a wonderfully spontaneous, overall very light-footed interpretation that captivates the listener from the first to the last second. Without a doubt, this is one of the finest and most interesting chamber-music productions of recent months. Highly recommended!
   Steff

3. klassik.com – 25. January 2005

   --> original review

   … In the hands of these performers, all the shades of emotion that Nielsen’s music opens up become apparent: from urgent, unrestrained outbursts of energy to lyrical melodic arcs and pale tonal imagery, every note here is felt and imbued with expression, vitality, and passion. (…)