Alina Ibragimova and Cédric Tiberghien launch their Beethoven cycle with a flying start, offering zesty accounts of the Op 12 set alongside the evergreen Spring Sonata. Performing on period instruments—Ibragimova on a 1570 Amati violin and Tiberghien on a replica 1794 Walter fortepiano—the duo brings fresh-as-a-daisy interpretations that are anything but academic.
Op 12 Sonatas: Theatricality and Athleticism
Among the Op 12 sonatas, the D major crackles with an almost capricious theatricality. One moment Ibragimova and Tiberghien tease each other, the next they goad each other into greater feats of athleticism. Ibragimova explores the widest dynamic ranges, accompanied by Tiberghien, whose quicksilver right hand is matched by a percussive left that would give a timpanist a run for his money.
The amiable E flat major is no less high-spirited, with violinist and pianist taking turns as metrical powerhouse or silken melodist. Despite their vigour, there is a shapely elegance that ensures the music sounds neither remorseless nor brittle. As for the sunny A major sonata, only the stoniest of hearts could fail to be charmed by their buoyant optimism. An effortlessly supple andante is framed by outer movements replete with comedic flourishes.
Spring Sonata: Storytelling and Nature Imagery
The Spring Sonata’s nature imagery brings out Ibragimova and Tiberghien’s gift for storytelling, with back-and-forth birdcalls in the opening movement caught seemingly on the wing. Ibragimova virtually moos in the gently ruminative adagio. From the chuckling scherzo to the sauntering rondo finale, each phrase feels considered and sculpted accordingly without any loss of spontaneity.
Sound Quality
BIS’s detailed SACD sound is convincingly natural, enhancing the duo’s vibrant performances. This volume is a must-listen for classical music enthusiasts seeking fresh interpretations of Beethoven’s violin sonatas.
