Beethoven: Violin Sonata, Op. 96 / Enescu: Violin Sonata, Op. 25 David Abel & Julie Steinberg

• 1 I. Allegro moderato 10:40
• 2 II. Adagio espressivo 07:13
• 3 III. Scherzo: Allegro 02:00
• 4 IV. Poco allegretto 08:48
• 5 I. Moderato malinconico 08:00
• 6 II. Andante sostenuto e misterioso 07:46
• 7 III. Allegro con brio, ma non troppo mosso 07:34
• Total Runtime 52:01

Info zu Beethoven: Violin Sonata, Op. 96 / Enescu: Violin Sonata, Op. 25

This composition occupies a special place among Beethoven’s creations because it shows a unique quality: there is an Olympian elegance, a profound gentleness that pervades the entire work. Nowhere does Beethoven the earth shaker appear. Even the scherzo movement does not disturb this sustained thoughtfulness.

Violin and piano begin trading short thematic statements in quick exchange from the first notes of the first movement. Parallel arpeggios create a growing intensity. The middle section of the movement is characterized by abrupt modulations and an increased pace of exchanges. A striking procedure is the use of a seemingly interminable trill, nearly heart­stopping in its intensity.

The second movement, Adagio expressivo, one of Beethoven’s floating Adagios, is based on the compulsion of a slow intense bass movement. The serenity of this movement is not disturbed by elaborate decoration from both instruments. And this stillness is further emphasized by a fourteen measure repeating pedal point (nearly one fifth of the movement) which closes it. The Scherzo sustains the serious character of the entire work. The last movement begins not only with a quick alternation of themes between the violin and piano, but a soft and loud alternation, as well, which adds to the feeling of growing intensity. An interrupted rondo is the plan, but the interruptions are of a major kind: another sensuous adagio and a daring fugato lead to a presto outburst concluding the movement.

'Oh, what a breath of fresh air this is! An audiophile recording of real music that isn't bombastic, overblown, or high-powered. Imagine, if you can, a private recital in your own home by two consummate artists who play these works for their own delight as much as for yours. Imagine sound so completely and disarmingly natural that after 30 seconds you're unaware it's reproduced. That's what this record is all about.

I could rhapsodize endlessly about this record, but I won't. Suffice it to say that if you think there's even a remote chance you'll like this music, you will be positively mesmerized by this recording of it. I'm forced to wonder, though, what would have happened to the sales of chamber music recordings (traditionally the worst sellers) if ones like this had been available ten years ago.

I am being restrained about this record simply because my inclination is to go completely overboard. Could you envision a recording of piano and violin getting Stereophile's coveted Definitive Disc Award. I can. This may be next.' (J. Gordon Holt, Stereophile)

The two pieces contrast greatly. The Beethoven sonata is one of his more gentle and lyrical pieces; the Enescu is passionate, almost violent. Each piece is presented in a unique style—one might almost suspect the performers were not the same. I enjoyed the Beethoven more, but I think the performers were more excited by the Enescu. Overall, it's hard for me to imagine a reader of this magazine who would not be delighted to own this record.' (Larry Archibald, Stereophile)

David Abel, violin
Julie Steinberg, piano

Recording of February 1984

Digitally remastered

David Abel’s
musical activities span a wide range, including chamber music, solo recitals, orchestra appearances and teaching violin and chamber music, and he is noted as one of the finest violinists dedicated to contemporary music. Abel made his orchestral debut at the age of fourteen with the San Francisco Symphony and has appeared with major orchestras throughout the United States. He was a winner of the Leventritt International Violin Competition in 1964 and toured Europe under the auspices of the Martha Baird Rockefeller Foundation. In 1997, Abel made his first appearance in an electronic music context with his performance in Dresher’s Violin Concerto, one of two works composed for him and the Ensemble Electro-Acoustic Band.

Abel has been a participant in the Chamber Music West Festival in San Francisco, a member of the Crown Chamber Players at the University of California at Santa Cruz and has appeared at the Carmel Bach Festival, the Cabrillo Music Festival, the Library of Congress Summer Chamber Music Festival in Washington, DC, the Mozart Festival in San Luis Obispo and the Mid-Summer Mozart Festival in San Francisco

Abel’s current recordings include: works by Lou Harrison, John Cage, Henry Cowell, Somei Satoh, Paul Dresher, Morton Feldman (viola) and Peter Garland on New Albion Records; Debussy, Satoh, Bartok, Brahms, Beethoven, Enescu and Dvorak for Wilson Audio; with Phil Aaberg on Windham Hill; viola in Elegy for Jean Genet by John Zorn on Eva Records (Japan); and live performances of the Beethoven, Berg, Brahms and Prokofiev No. 1 violin concertos on Three Treasure Recordings

Along with pianist Julie Steinberg, Abel frequently appear in duo recitals, and together they have recorded two sonata programs on Wilson Audio. Joined by percussionist William Winant, they established the Abel-Steinberg-Winant Trio, which is dedicated to the performance of music from the Americas and the Pacific Rim. The Trio has received critical acclaim throughout the United States for their fine performances and unique programming, and for their recordings of Lou Harrison’s music on New Albion Records.

Julie Steinberg
performs regularly as a soloist and chamber musician. An active proponent of new music, her performances of a diverse repertory, that includes music by Olivier Messiaen, Lou Harrison, John Cage, Frederic Rzewski, Henry Cowell and John Zorn have received critical acclaim. Joined by violinist David Abel and percussionist William Winant, she is a member of the Abel-Steinberg-Winant Trio, a virtuoso ensemble specializing in new music from the Americas and Pacific Rim. They have commissioned over twenty-five works and they have recordings on both CRI and New Albion. At the Library of Congress, David Abel and Julie Steinberg have premiered works commissioned through the McKim Fund by Ernst Bacon, John Harbison, Steve Mackey and Paul Dresher. She is also pianist with the San Francisco Contemporary Music Players with whom she appears regularly and has recently performed works by Luciano Berio, Gerard Grisey, Phillipe Hurel and Phillipe Leroux. Since l980, Ms. Steinberg has appeared many times with the San Francisco Symphony, including the world premiere performances of John Adams’ “Grand Pianola Music” and in April,2000 she was a soloist in Arvo Part’s “Tabula Rasa.” Since l996, she has appeared at Michael Tilson Thomas’ Mavericks concerts, most recently performing the music of George Antheil. Ms. Steinberg has appeared at New Music America, the Ravinia Festival, Japan Interlink, Berlin Inventionen, Lincoln Center Outdoors,and the Salzburg Festival. In Fall, 2002, she performed in Moscow and St. Petersburg with the Paul Dresher Ensemble. Other performances include “Le Sacre du printemps” with the Paul Taylor Dance Company in San Francisco, Seattle, and Paris, and a highly praised solo recital on the Bay Area Pianists series. As an assisting artist, she has performed in master classes with Jean-Pierre Rampal and Mstislav Rostropovich. Julie Steinberg holds a Doctor of Musical Arts from Stanford University, has taught at Sonoma State University, Sacramento State University, Mills College and is currently on the faculty of the University of California, Berkeley.

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