℗ 2020 Challenge Classics
 

Sonatas for Piano and Violin Vol. 1

Maksim Štšura, Michael Foyle

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Sonata No. 1 in D Major, Op. 12, No. 1.  
1.1
I. Allegro con brio
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
6:30
1.2
II. Tema con Variazioni: Andante con moto
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
7:01
1.3
III. Rondo: Allegro
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
5:10
Sonata No. 2 in A Major, Op. 12, No. 2  
1.4
I. Allegro vivace
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
4:46
1.5
II. Andante più tosto Allegretto
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
4:50
1.6
III. Allegro piacévole
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
5:36
Sonata No. 4 in A Minor, Op. 23  
1.7
I. Presto
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
5:20
1.8
II. Andante scherzoso
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
5:49
1.9
III. Allegro molto
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
5:55
Sonata No. 5 in F Major, Op. 24 ‘Spring’  
1.10
I. Allegro
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
7:37
1.11
II. Adagio molto espressivo
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
5:04
1.12
III. Scherzo: Allegro molto
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
1:21
1.13
IV. Rondo: Allegro ma non troppo
Ludwig van Beethoven; Maksim Štšura; Michael Foyle
6:37
Total Playing Time    71:36
Michael Foyle: Exploring these Sonatas in 2020 took on a deeper significance beyond the anniversary celebrations. Recording all ten in Mechelen, Belgium, the home of Beethoven’s paternal ancestors, with much of the world’s population in isolation, his works revealed new layers of emotional intensity and psychological relevance. The Op. 12 Sonatas belong to the last decade of the eighteenth century, a period when Beethoven was conquering Vienna as the foremost keyboard virtuoso of the day but simultaneously seeking to have his compositions published for the first time. In essence, classical duo sonatas for piano and strings had grown from the eighteenth-century ‘accompanied’ sonatas, in which the string instrument provided a supportive role to the keyboard’s dominating textures. Here we witness a gradual incorporation of a ‘dramatic dialogue’ (to borrow Simon P. Keefe’s term) between instruments which had previously been more important in concerto writing. Beethoven’s Sonata No. 5 in F major Op. 24 is described by musicologist Angus Watson as ‘an exquisite testament to Beethoven’s profoundly religious feeling for the natural world.’
96 kHz / 24-bit PCM – Challenge Classics Studio Masters

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