Beethoven Violin Sonatas, Vol 3
This third disc concludes Ibragimova and Tiberghien’s live set of the Beethoven sonatas. The qualities of the earlier instalments (8/10, 12/10) – polished technique, spontaneity and deep engagement with the music – are as strongly apparent here. One small illustration will demonstrate the special character of these performances. The fourth of the final variations of Sonata No 6 begins with three unaccompanied violin chords played piano. Often, violinists seem embarrassed by these, or else create a somewhat eccentric effect. Not so Alina Ibragimova, who gives them the character
of tentative, fearful steps into the unknown, to be reassured by Tiberghien’s suave reply. The following minor-key variation shows how both players can bring flexibility and fluidity to their performance, with the confidence that they will be sympathetically accompanied.
By comparison, the excellent studio set by Isabelle Faust and Alexander Melnikov appears more studied. In the middle section of Sonata No 3’s Adagio, each of their perdendoso phrases ends in a ghostly whisper – a wonderful effect. Ibragimova and Tiberghien don’t attempt anything so extreme but their playing has a powerful sense of progress through the series of modulations, born, I imagine, out of the intensity of live performance. In the finales of this sonata and of the Kreutzer, Faust and Melnikov are slightly faster and more brilliant but Tiberghien and Ibragimova, with superb poise and control, appear more carefree and joyful. And their account of the Kreutzer’s first movement, with its Furtwängler-like broadening at the climax of the coda, unmistakably exposes the music’s portrayal of emotional turmoil.