Ingolf Turban

Giovanni Bria

Heinrich Wilhelm Ernst

Ernst: Romantic Pieces for Violin

Ungarische Melodien in A, Op. 22

Gioachino Rossini

Fantaisie brillante sur la Marche et la Romance d'Otello de Rossini, Op. 11

Etude No. 1 in F: Rondino scherzo. Con spirito

Première Romance in G, Op. 15, No. 1: Allegretto molto cantabile

Etude No. 2 in A: Allegretto

Notturno in E, Op. 25, No. 2: Andantino

Etude No. 3 in E, Op. 25, No. 2: Terzetto. Allegretto moderato e tranquillo

Etude No. 4 in C: Allegro risoluto

Rondo Papageno in B, Op. 21: Allegretto

Etude No. 5 in E-Flat: Air de ballet. Allegretto con giusto

Deuxième Romance in G, Op. 15, No. 2: Agitato ma non allegro

Etude No. 6 in G: Die letzte Rose Introduzione. Tema, Variazioni 1-4, Finale

Elegie in C, Chant pour violon avec piano op. 10, 3: Adagio melancolio ed appassionato

Franz Seraphicus Peter Schubert

Erlkönig: Caprice für Violine allein nach der Ballade von Franz Schubert op. 26

Edgar Krapp

Organ works by Marteau, Wolfrum, Reger & Höller

Milena Wilke

Tassilo Probst

Sören Bindemann

Marteau, Vol. 5: 24 Caprices for Violin & Piano, Op. 25 (Live)

Ilja Scheps

Ferruccio Busoni

“For a long time no child prodigy has appealed to us so sympathetically as the little Ferruccio Busoni. Precisely because he has so little of the child prodigy about him, but instead a lot of the good musician, both as a pianist and as a budding composer.” This is what Eduard Hanslick, the famous Vienna music critic, had to say in 1876 about the ten-year-old Ferruccio Busoni. Around this time Busoni had already composed many works – mostly for clarinet with other instruments, and all these works were very much born of the spirit of his father, who played the clarinet. In his time Ferdinando Busoni was a famous virtuoso and created a sensation as a traveling artist with opera fantasies and virtuoso showpieces. Of his son’s two Violin Sonatas composed in 1889 and 1898, the op. 36a second sonata is to be regarded as an absolute key work. According to Busoni’s own testimony, it first delineated his unique character as a composer. The entire work is based on a Bach chorale, and it culminates in a magnificent variation movement on the same. However, his enormous public appeal and the admiration for his transcription technique made Busoni skeptical, and he thought that he had strayed onto conventional paths – which was not the case. The op. 29 first sonata is very much more conventional. Within its limits, very much in keeping with its composer’s life and times, the work today speaks unusually clearly to us, as an homage to Brahms, who supported Busoni, or as a link to the great pianist of those times, Anton Rubinstein, who himself published three violin sonatas.

Busoni: Violin Sonatas Nos. 1 & 2

Brahms: The Violin Sonatas (Live)

Zina Schiff

Peter Zazofsky

Chen Halevi

Milken Archive Digital, Vol. 10 Album 8: Intimate Voices – Solo & Ensemble Music of the Jewish Spirit

Raff: Volker

Spohr: Grand Duo - Works for Violin & Piano

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Ernst: Romantic Pieces for Violin

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