Music / neoklassik

Sonatas and folk dances


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Latest edition, musik (cd)

Sonate for violin, Sz 117

Béla Bartók

Sonate for violin og klaver, e-mol, DD 72 (opus posth. (1903))(Andrew Armstrong, klaver)

Béla Bartók

Ungarske folkemelodier, 1934 : 9 stykker fra ("For children, Sz 42")(transcription for violin and piano by Tivadar Országh and the composer, Andrew Armstrong, klaver)

Béla Bartók

Ungarske folkemelodier, 1927 : 7 stykker fra ("For children, Sz 42")(transcription for violin and piano by Joseph Szigeti and the composer, Andrew Armstrong, klaver)

Béla Bartók

Rumænske folkedanse, Sz 56(transcription for violin and piano by Zoltán Székely, Andrew Armstrong, klaver)

Béla Bartók


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Reviews (4)


Diapason

2013 mars

By

By

Patrick Szersnovicz

2013 mars


BBC music magazine

2013 March

By

By

Erik Levi

2013 March

"Vurdering: BBC music chamber choice" - "The Solo Sonata is undoubtedly the most substantial work on this disc ... Needless to say, the score holds no terrors for Ehnes who delivers a magisterial performance ... Ehnes and his excellent pianist, Andrew Armstrong, make the best possible case for reappraising the early Violin Sonata of 1903, dismissed by the composer as a mere apprentice work".


The gramophone

2013 January

By

By

Duncan Druce

2013 January

"Ehnes gives a stunning account of the Solo Sonata. The impression is that he's simply following all Bartok's meticulous direction ... and adding nothing extra. If this seems boring, the effect is anything but: clarity of articulation, beauty of sound, the ease with which he surmounts the technical challenges, and deep understanding of the work's structure and character; all these combine to make a performance that's exciting and enthralling".


International record review

2013 January

By

By

Richard Whitehouse

2013 January

"This second instalment of James Ehnes's traversal through Bartók's published works for violin and piano amply continues the high standard of its predecessor ... Vibrantly partnered by Andrew Armstrong, Ehnes give a consummate account of a piece that, for all its shortcomings, deserves to be more fully appreciated as a formative statement of intent [Violin Sonata in E minor] ... Although others have demonstrated how these might be made to 'sound' in context, Ehnes's approach unarguably enhances the virtues of his performance overall".