Kreutzer

The emotional core of their performance of the Kreutzer is the set ofvariations that forms the central slowmovement, and while other partnerships might bring more drama tothe first movement, Dusinberre and Korevaar judge the contrast between that and the variations that follow perfectly.

Beethoven: Violin Sonatas Opp 47 & 96 2010

Kreutzer, which is both dynamic and intense, with lots of notes between a piano and a violin, sounded probably better than Beethoven himself ever managed to hear it, and the jazz?

In which I challenge my new headphones 2009

The sex question, as treated in Little Eyolf, recalls The Kreutzer

Henrik Ibsen 2008

The sex question, as treated in Little Eyolf, recalls The Kreutzer

Henrik Ibsen 2008

Beethoven thought so much of him that he composed a sonata for him, which he later called the Kreutzer Sonata.

World’s Great Men of Color J. A. Rogers 1947

Beethoven thought so much of him that he composed a sonata for him, which he later called the Kreutzer Sonata.

World’s Great Men of Color J. A. Rogers 1947

Beethoven thought so much of him that he composed a sonata for him, which he later called the Kreutzer Sonata.

World’s Great Men of Color J. A. Rogers 1947

Pianist Andrew Staupe had the "Kreutzer" well in hand, virtually memorized.

Violinist Chee-Yun plays lovely Bach, Messiaen, Saint-Saens at Kennedy Center Post 2010

All is sweetness and light, by comparison, in Dusinberre's finely turned modern instrument reading of the titanic "Kreutzer" sonata, where you feel that Korevaar's piano has to be restrained from playing at full tilt.

Beethoven: violin sonatas vol 4, op 30 nos 1 - 3; violin sonatas 'Kreutzer' op 47, no 10 op 96 2010

Recasting the piano part for strings erases this contrast entirely and, in the case of the "Kreutzer," resulted in confusion and imbalance.

In performance: Academy of St. Martin in the Fields 2010