Nikolai Szeps-Znaider / Daniil Trifonov
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- Nikolaj Szeps-Znaider Violine
- Daniil Trifonov Klavier
Programme
- Clara Schumann
Drei Romanzen op. 22 für Violine und Klavier (1853)
- Robert Schumann
Sonate Nr. 2 d-moll op. 121 für Violine und Klavier (1851)
Intermission
- Anton Webern
Vier Stücke für Geige und Klavier op. 7 (1910–1914)
- Ludwig van Beethoven
Sonate A-Dur op. 47 für Violine und Klavier »Kreutzer-Sonate« (1802–1803)
- Nikolaj Szeps-Znaider Violine
- Daniil Trifonov Klavier
Programme
- Clara Schumann
Drei Romanzen op. 22 für Violine und Klavier (1853)
- Robert Schumann
Sonate Nr. 2 d-moll op. 121 für Violine und Klavier (1851)
Intermission
- Anton Webern
Vier Stücke für Geige und Klavier op. 7 (1910–1914)
- Ludwig van Beethoven
Sonate A-Dur op. 47 für Violine und Klavier »Kreutzer-Sonate« (1802–1803)
Grandiose duo
Daniil Trifonov and Nikolaj Szeps-Znaider dedicate themselves to a programme of duo works for violin and piano that seems tailor-made for them. Martha Argerich once raved about Trifonov that he had both tenderness and the demonic. The violinist Szeps-Znaider, who switches »playing« to the conductor's podium, is considered equally versatile.
The Schumanns, Webern & Beethoven
While Robert Schumann's Second Violin Sonata in D minor op. 121 explores emotional contrasts, the violin and piano in Clara Schumann's Romances op. 22 celebrate a dialogue of subtle nuances. As if under a burning glass, Anton Webern's Four Pieces for Violin and Piano op. 7 summarise a cornucopia of variations and moods into resounding aphorisms. Finally, the opulent violin sonata op. 47 (»Kreutzer Sonata«), which Ludwig van Beethoven composed in »stile molto concertante« by his own admission, provides an impressive contrast in every respect.
