This Sonata trilogy that Beethoven, written in his young maturity, has become the reference in this so particular form of dialogue called ‘classical sonata’, each of the three having its own technical step given the leadership from keyboard to the string instrument. The No.5, often called Spring Sonata, has for model simultaneously Haydn and Mozart. The No.6 is yet ‘for the pianoforte with the accompaniment of a violin’, gracious work with a fascinating central adagio molto espressivo in D . . . with Richter. The No.9, Kreutzer-Sonata, is arguably the first release for violin, with help of a keyboard, the violin’s unaccompanied entry at the beginning of the andante con variazoni is opening a new era… with Oistrakh.
PRD 250 322