With the fourth episode the much acclaimed project the first complete works for violin and piano on period instruments has been completed. The special feature: used for their complete recording on ACCENT Linda Nicholson and Hiro Kurosaki not merely instruments of historical design, but of course each time with exactly historic Viennese instruments from the time of Beethoven. Through this careful selection of instruments, the two musicians Beethoven sound ideas to approach more than is the case in all previous recordings on period instruments. Another plus point of this project is to consider the otherwise neglected early works for this combination that makes us so well known with some rarities worth listening from the pen of the composer. A highlight of the Edition Nicholson and Kurosaki present us the three sonatas Op. 30, which will be played here on a Viennese grand piano from Caspar Katholnik from around 1805 and a violin by Franz Geissenhof in 1801. 1802 composed in Heiligenstadt, the three sonatas Op. 30 unfortunately rather a shadowy existence lead between the unequal known Frühlingssonate Op. 24 and the famous Kreutzer Sonata Op. 47 in the concert world, but also in the minds of many music lovers who have come to appreciate just the connoisseurs as Sonata Op. 30 No. 1 as one of the finest chamber music Beethoven ever. Kurosaki and Nicholson close with her successful recording from an equally interesting as meritorious project that expands our view of the Beethoven violin sonatas with an important perspective.
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With the fourth episode the much acclaimed project the first complete works for violin and piano on period instruments has been completed. The special feature: used for their complete recording on ACCENT Linda Nicholson and Hiro Kurosaki not merely instruments of historical design, but of course each time with exactly historic Viennese instruments from the time of Beethoven. Through this careful selection of instruments, the two musicians Beethoven sound ideas to approach more than is the case in all previous recordings on period instruments. Another plus point of this project is to consider the otherwise neglected early works for this combination that makes us so well known with some rarities worth listening from the pen of the composer. A highlight of the Edition Nicholson and Kurosaki present us the three sonatas Op. 30, which will be played here on a Viennese grand piano from Caspar Katholnik from around 1805 and a violin by Franz Geissenhof in 1801. 1802 composed in Heiligenstadt, the three sonatas Op. 30 unfortunately rather a shadowy existence lead between the unequal known Frühlingssonate Op. 24 and the famous Kreutzer Sonata Op. 47 in the concert world, but also in the minds of many music lovers who have come to appreciate just the connoisseurs as Sonata Op. 30 No. 1 as one of the finest chamber music Beethoven ever. Kurosaki and Nicholson close with her successful recording from an equally interesting as meritorious project that expands our view of the Beethoven violin sonatas with an important perspective.
