In nearly every respect this is outstanding. The Rondo brillant and the Fantasie, both written for the virtuoso duo of Karl von Bocklet and Josef Slawik, can sound as if Schubert were striving for a brilliant, flashy style, foreign to his nature. Both are in places uncomfortable to play (when first published, the Fantasie’s violin part was simplified), but you would never guess this from Faust’s and Melnikov’s performance; they both nonchalantly toss off any problem passages as though child’s play. The Fantasie’s finale and the Rondo brillant are irresistibly lively and spirited, and this duo’s technical finesse extends to more poetic episodes – Melnikov’s tremolo at the start of the Fantasie shimmers delicately, while the filigree passagework in the last of the variations that form the Fantasie’s centrepiece have a delightful poise and sense of ease.
None of these reconstructions are included in Teldec’s Bach 2000, although the better-known ‘originals’ obviously are. The real newcomer is the Sinfonia, BWV1045 (5'34'') ‘to an unknown cantata’ which – as befits a BWV number that immediately precedes the First Brandenburg Concerto – is rumbustious, festive and thematically likeable. Time and again I could sense allusions to other Bach instrumental pieces, though the soloist’s ceaseless arpeggiating is sometimes a distraction. We’re told it’s authentic (the manuscript source suggests a violin concerto in the making) but something about its harmonic language doesn’t quite ring true, though that reaction might well be due to lack of familiarity.
Le plus célèbre des romans allemands est " un roman de formation ", qui conduit le héros jusqu'à la fin de sa jeunesse. On suit le personnage dans ses égarements enthousiastes, avec un humour souriant. C'est aussi l'histoire d'une vocation théâtrale ; au centre, se trouve l'ombre de Shakespeare. …
A 19th-century ‘trio sonata’. Isabelle Faust and Alexander Melnikov have already given us an acclaimed version Brahms’s First Violin Sonata, in 2007. They now complete the cycle with the other two sonatas of 1886 and 1888, and add a fascinating rarity dating from 35 years earlier: the ‘F-A-E’ Sonata, a collaborative effort by three composers in honour of the great violinist Joachim, who had to guess who had written which movement! He did so with ease, for the Scherzo is as eminently Brahmsian as the Intermezzo and Finale are Schumannesque. Alexander Melnikov will be contributing his take on a score his mother gave him that belonged to Sviatoslav Richter in September BBC Music Magazine.
Private Release. Four CD's in a spiral bound serrated black cover and semi-transparent and black slips. A record of the Faust 'Day in the Life' special presented by Andy Wilson and Ian Land for Resonance Radio, 4th August 2002. Combines live, rare and previously unreleased tracks as well as interviews with Chris Cutler and Jochen Irmler. Chris Cutler's interview is spread across disc A:III,VIII,XII,XVII,XXIV. The tracks B:1-1V recorded live at The Garage, London, 1996. B:V-VIII are solo tracks by Jochen Irmler. B:IXf is an interview recorded with Jochen especially for the Resonance show. Disc Z is made up of Keef Robert's Faust Redux project. U:VI-XV recorded live at Real Art Ways, Hartford, CT, USA, 5 May 1994. U:XVI is Ian Morrisson's Elektron (Coulomb Remix). No longer available.
A very free adaptation of Marlowe's 'Doctor Faustus', Goethe's 'Faust' and various other treatments of the old legend of the man who sold his soul to the devil. Svankmajer's Faust is a nondescript man who, after being lured by a strange map into a sinister puppet theatre, finds himself immersed in an indescribably weird version of the play, blending live actors, clay model animation and giant puppets.