Brahms: Violin sonata no. 1. Faust, Melnikov

[@MrInterestingthings]

After Hearing Faust in the Mozartno.3 and Brahms and cried during her Schumann (hardly ever played ) concerto .I'm really taken in by her great playing and she really brings a naturalness to the 1st Brahms sonata that seems fitting . Also in the concerto there were some smart telling differences that really mark her as a true Brahms . On older instruments too she seems to bring us closest to the truth .

[@pmasic1]

DR Quelle merveilleuse version,subtile et passionnée , jamais écrasante...Un miracle ! Les interprètes sont fidèles à eux-mêmes et à la musique ...

[@tbarrelier]

I just noticed she is very sparing of vibrato, quite different from most performers. Ms. Faust gets more out of these oft-played works than anyone else I can think of.

[@TheCreate78]

Yes because vibrato was an ornament until the first half of the 20th century. :)

[@antoniusaetneus855]

LIKE ALWAYS, GREAT PERFORMERS! THANKS A LOT!!!!

[@franklincox8606]

One can question whether the non-vibrato approach works when one is using modern strings. The sound can have an edgy quality that one doesn't hear as much with older strings. But Faust is such a marvelous musician that she makes this performance tremendously convincing.

[@BassusContinuus]

You are right, but I don't think she is using modern strings in this recording.

[@jimp4170]

@@BassusContinuus I agree. The piano is certainly not modern. Faust would not play modern strings with a period piano.

[@TheCreate78]

@@BassusContinuus she is using gut strings

[@TheCreate78]

@@jimp4170 it's a fortepiano :)

[@TheCreate78]

Franklin, this is not a "non-vibrato approach" but a historically informed performance. The vibrato was not constantly used until the first half of the 20th century. Composers wrote books on the use of the vibrato and you can read that the vibrato was only used as a ornament. Some despised the constant use of it such as Bériot. I found a book of ca. 1920 (just bcs I don't remember the exact date) where the author said it was awful to use an arm vibrato lmao. Auer also despised constant vibrato.

[@roycezaro1998]

This must be what it's like to visit another plane of existence.

[@yakubov]

Sublime

[@letsschubertiad1966]

I'm not a big fan of Brahms but this violin sonata is good

[@franklincox8606]

From the point of view of what Brahms would have heard--say, from his close friend Joachim--the "purists" are wrong. Joachim used very little vibrato, and the modern constant vibrato technique was not part of 19th century performance practice.

[@TheCreate78]

Where did you read/heard this? I am curious.

[@yakubov]

@@TheCreate78 From the man (Joachim) himself. Also, one can find an audio evidence of that) Vibrato is a color enhancement, not the colour itself.

[@franklincox9508]

There are tons of sources for this information now. One can find plenty of information on youtube now. For example: 1. Anton Heking (probably ca. 1900)--1st cellist of Berlin Phil, Boston Symphony, etc.--also used plenty of portamento and some straight tones; his vibrato is a bit wider than Kronold's but it not constant and changes. Traumerei portamento, thin vibrato, not constant kzbin.info/www/bejne/pKfYiJWwmMpglaM 1905-6 kzbin.info/www/bejne/bnu1oWuMeNpola8 1907 Saint-Saens The Swan Clear use of strait tone Raff: Cavatina op.85 no.3 kzbin.info/www/bejne/noSliXh9h5tqicU Liberal use of portamenti, some straight tone. Some upward scoops at ca. 2’ Similar to Hans; portamento, some strait tones, generally slightly wider vibrato Bach Ave Maria, some use of straight tones. kzbin.info/www/bejne/rauxY3yCrKmme9U 2. 1920 Beatrice Harrison Elgar concerto-first recording kzbin.info/www/bejne/ZpWUnKh7pJaYjaM Minimal vibrato much of the time, wider at others 3. Felix Salmond, cello-more modern-sounding cellist 1927 Grieg To Spring kzbin.info/www/bejne/aYfSnoiEarOLjLs Fast thin vibrato, not constant Kol Nidrei 1928 kzbin.info/www/bejne/eYDcmnyZjb2Np5o Wider vibrato in opening, some open strings Middle section-some notes without vibrato/ Portamenti clear, but not as common as with earlier cellists above; some are very very prominent. Middle sections-some notes without vibrato None of these cellists sounds like more modern cellists. Clive Brown has an outstanding book Performanc Practice of Classical and Romantic Music.

[@franklincox9508]

1. Anton Heking (probably ca. 1900)--1st cellist of Berlin Phil, Boston Symphony, etc.--also used plenty of portamento and some straight tones; his vibrato is a bit wider than Kronold's but it not constant and changes. Traumerei portamento, thin vibrato, not constant kzbin.info/www/bejne/pKfYiJWwmMpglaM 1905-6 kzbin.info/www/bejne/bnu1oWuMeNpola8 1907 Saint-Saens The Swan Clear use of strait tone Raff: Cavatina op.85 no.3 kzbin.info/www/bejne/noSliXh9h5tqicU Liberal use of portamenti, some straight tone. Some upward scoops at ca. 2’ Similar to Hans; portamento, some strait tones, generally slightly wider vibrato Bach Ave Maria, some use of straight tones. kzbin.info/www/bejne/rauxY3yCrKmme9U 2. 1920 Beatrice Harrison Elgar concerto-first recording kzbin.info/www/bejne/ZpWUnKh7pJaYjaM Minimal vibrato much of the time, wider at others 3. Felix Salmond, cello-more modern-sounding cellist 1927 Grieg To Spring kzbin.info/www/bejne/aYfSnoiEarOLjLs Fast thin vibrato, not constant Kol Nidrei 1928 kzbin.info/www/bejne/eYDcmnyZjb2Np5o Wider vibrato in opening, some open strings Middle section-some notes without vibrato/ Portamenti clear, but not as common as with earlier cellists above; some are very very prominent. Middle sections-some notes without vibrato Clive Brown has an outstanding book out, Classical and Romantic Performance Practice, 1750-1900

[@MBelloni]

ternura

[@edwinbarreno]

Painting author?

[@Muzikay]

Friedrich von Amerling, _Countess Julie von Woyna_ (1832)

[@edwinbarreno]

Muzikay thank you

[@giuliodamicone9351]

Intonazione sempre al limite: capita quando si utilizzano strumenti d'epoca.