1936 SZYMON GOLDBERG VIOLIN LILI KRAUS PIANO Beethoven Sonata No 10 G Maj
$
40
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Description
Welcome to my new auctions of 2020. This is the FIRST WEEK of 2 Weeks of great auctions,
running until February 9th.
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A series of great classical orchestral and instrumental performances by major conductors, composers and instrumentalists.
Featuring the the "ideal" Duo of Lili Kraus piano and Szymon Goldberg Violin.
eethoven: Violin Sonata No. 10 in G Major, Op. 96
Orig Issue UK Parlophone 3x 12" 78 rpm records
CONDITION: Excellent pristine, plays very quiet lightest crackle
A CHOICE COPY
From a review in THE GRAMOPHONE
That great violinist and teacher Carl Flesch, not one to confer praise lightly, called the partnership of Goldberg (one of what he called his two "outstanding" pupils, the other being Max Rostal) and Kraus "exemplary"; and certainly their Mozart sonatas for Parlophone in the 1930s were universally praised as highlights of the recorded chamber-music repertory. At that time Mozart's violin sonatas, when they were played at all, were often treated either in nineteenth-century romantic style or, at the other extreme, in a falsely prim manner: in those days long before the appetite for 'authenticity' this duo struck a balance which still convinces and appeals. Goldberg's clean intonation, sensitivity to tonal gradation and crisp bowing (especially his light staccato) give constant pleasure, and Kraus had an unerring ear for matching up her tone so that the piano—still the senior partner in Mozart's day—was never overassertive: if she had a failing, it was that, like her teacher Schnabel, she had a tendency to hurry (as in the triplets of K377's first movement here).
The Mozart sonatas presented were written in the seven years from 1778 and reveal a conspicuous development in treating the two instruments as equals: compare K296 (the theme of its Andante borrowed from J. C. Bach) and K481, with its remarkable modulations in the Adagio and its final Beethovenish variations (with brilliant piano writing). Throughout, however, the two artists work as a closely-integrated pair, producing buoyancy in the C major's first movement, gaiety in that of the F major and a beautifully shaped and nuanced theme of its Andante; in the B flat they exhibit grace and a deeply felt Andantino; Goldberg's archel volant in K380's alert first movement is a delight, and its bucolic final rondeau is played with delicacy. Tempos are well judged.
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