It is always the case
that an important composer will be widely
known for only a fragment of his output
and, by that token, of his achievement.
Although these violin sonatas hardly
rate as new discoveries, they are much
less celebrated than the Piano Concerto
or the Peer Gynt music. Yet they
find Grieg at the height of his powers,
with technique and inspiration in potent
combination.
The first two sonatas
are relatively early, and as such they
must be among the first manifestations
of Grieg’s stature. For each has its
own distinctive personality, while each
also finds the composer in full command
of the duo combination as a partnership
of equals. Full marks then to the collaboration
of Shaham and Erez, and to the Hyperion
recording, which has such a natural
perspective. For example, the violin
tone in climactic passages, such as
the second movement of Op. 8, is particularly
imposing and effective.
The two players bring
to the music a spontaneous flow along
with a detailed yet carefree observation
of Grieg’s performance instructions.
The music’s natural line of development
gains as a result, although other performances
have achieved more intensity of expression.
For example, greater volatility can
be found in the approach adopted by
Agustin Dumay and Maria João
Pires (DG 477 525 2GH).
On occasions the quasi-classical
style of Shaham and Erez, with its emphasis
on line and momentum, can miss touches
of poetry, such as during the passages
of restrained dynamics in the slow movement
in the Sonata No. 2. Not that they are
insensitive to the musical nuances,
it is simply a matter of interpretation
and artistic priority, since their choices
remain thoroughly appropriate. As a
mark of their success, great moments
such as the arrival of the ‘big tune’
in the dance-like finale of the Sonata
No. 3 can be heard for all they are
worth.
As a welcome bonus
to the sonatas, Joseph Achron’s attractive
arrangements of several of Grieg’s piano
pieces are also included. These are
mainly a matter of violin with piano
accompaniment, but the directness and
charm of these miniatures is always
felt, whether in faster numbers such
as the Scherzo-Impromptu, or
via more expressive items such as At
Home or The Lonely Wanderer.
Terry Barfoot
for
details
Hagai Shaham (violin), Arnon Erez (piano) 
