The list of winners of the 2017 German Classic Echo Awards recently announced that the biggest winner is not the well-known big brands DG, Sony, etc., but the slightly less famous Nassos. Let’s take a look at a total of 22 groups of awards, 54 winners, belonging to the Nassos Music Group and its agent brand, artists, and video albums, a total of more than 20.
For a music fan, the announcement of the winners of the German Classical Echo Awards is the beginning of the search for records. “I would like to own the” Mozart Concertos for Violins No. 3, No. 4, and No. 5 “by Henin Krugerund, a violinist and composer who was exclusively contracted by Nassos, the” Alpine Symphony “by Richard Strauss, recorded by Nagano’s Gothenburg Symphony Orchestra, and the” Brahms Piano Trio “(Volume 1), recorded by the Vienna Piano Trio Orchestra.”.
“Buying records across borders requires patience, but more importantly, it is expensive.”. Therefore, it is not so much the day when the German Classical Echo Awards are announced that music fans start searching for records as it is the day when we begin our painful struggle – I have to give up in winning records.
If I were only allowed to choose one record from the winning works of the 2017 German Classical Echo Awards, which one would I choose? “It’s needless to ask, it must be the” Brahms Violin Sonata “jointly completed by German violinist Christian Tezraf and his long-term partner, pianist Lars Vogt.”.
The primary reason, of course, is that the record recorded three violin sonatas by Brahms.
“The door of classical music is not easy to enter, and the door of chamber music in classical music is even more difficult to enter. I’m afraid no one will have any doubt about this statement.”. Back then, my goddess and German violinist Anne Sophie Mutt came to Shanghai to give a concert, just because that year was her Brahms year. Mutt, who was well known for her persistence in chamber music and widowhood, did not plan to change her performance repertoire for the box office, so I made a difficult decision: Should I go to the Oriental Art Center to face Mutt? Just as I hesitated, a friend of mine from Guangzhou actually flew to Shanghai to write only three violin sonatas for Brahms.
Facts have proven that there are many doors that you think are difficult to enter, and it is your own demons that are causing trouble. That night, when I first heard chamber music, I was fascinated by Brahms’ music thoughts, especially the second movement of the third violin sonata, Adagio. You can think of it as the lake and mountain scenery of his hometown behind Brahms’ failure to obtain the desired love, and it is also the time when the autumn rain is blurred, The composer consigned his thoughts to the autumn breeze and sent them to a distant place that even Clara Schumann couldn’t find. “That kind of melancholy, that kind of singing and wandering, that kind of desire to talk and pause are all wrong and at a loss, it’s beautiful.”.
In that concert, with the sound of “Anke” from the music fans, Mute, who didn’t return very much, returned to the center of the stage. At that time, I thought, either I could choose another piece, and if I played the fragments from Brahms’ three violin sonatas again, it would be the second movement of the third piece! But Mutt chose the second movement of the first song, also known as “Rain Drops.”. At that time, I was very frustrated. Seven years later, after accumulating the experience of listening to Brahms’ three violin sonatas over and over again, I would like to say that almost every sentence of Brahms’ three violin sonatas is a precise expression. However, those verses that initially felt calm, such as the second movement of “Rain Drops,” are really “speechless vicissitudes of life.”.
Therefore, there will be so many versions of “Brahms’ Three Violin Sonatas”.
As far as my collection is concerned, in addition to the versions jointly completed by Anne Sophie Mutt and Lambert Orkis, there are also versions jointly produced by the Israeli violinist Yizak Perlman and the British former Soviet pianist Ashkenazi, versions jointly produced by the Czech violinist Suk and the British pianist Sir Kozeng, and versions jointly produced by the Greek violinist Leonidas Cavacos and the young pianist Wang Yujia of our country.
“My first income came from the version of Parman’s solo violin and Ashkenazi’s piano accompaniment. At that time, Parman was becoming famous worldwide as a violinist in the film” Schindler’s List “. The violinist who had to walk onto the stage and play with a cane due to polio never complained about the unfairness of fate, but incorporated a sound quality that only belonged to Parman into his piano voice.”, That is gratitude. Because of this, the three violin sonatas of Brahms, published by Parman and Ashkenazi, are soft enough, and their painful determination is not enough.
So, what about the version that Suk and Ke collaborated on? The two artists, who have been in ancient times, almost started with “raindrops” and used subtle techniques to confidently tell the listeners of this record that the so-called love is the raindrops represented by Brahms using music. Before landing, they may be blown by the breeze and may not know where they will fall, but it will definitely moisten the earth and moisten the green grass. This sentiment is precisely in contrast to the enthusiasm that comes from the versions of Leonidas Cavacos and Wang Yujia. Cavalis, who can still play with reserve while standing alone on the stage, is always driven by Wang Yujia, who always wears a tight skirt and can’t stand and play the piano, to pour out the feelings of middle-aged people hesitating and wandering, becoming so enthusiastic, with a color like honey.
Since each version of Brahms’ three violin sonatas has its own flavor, it is important to buy this record of Brahms’ three violin sonatas, which has just won the German Classical Echo Award, because you really don’t know what interpretation was used to impress the judges’ ears by Christian Taizlav and Lars Vogt, who recorded the same repertoire together 12 years ago.
On the cover of this album, the two artists lowered their eyebrows and pondered, especially Christian Tezraf, who surprised me. He always showed off with clean, short hair when he came to China to play the piano several times, but this time his hair was too long. The pianist Lars Vogt, who was born in 1970 and four years younger than Tezraf, was as mature as he was on the stage of the Shanghai Symphony Orchestra in May. One uses his hairstyle and the other uses his appearance to mark his state when he first recorded Brahms’ three violin sonatas 12 years ago. What kind of Brahms are they dedicated to music fans this time? The record is still on the way, but fortunately, a segment of this record can be found online, which is also the first movement of “Rain Drops”, very different from the presentation of Anne Sophie Mutt. Lambert, who holds the Moon, follows Mutt’s footsteps, and of course, complements each other. However, Tezraf and Vogt seem to be moving towards a common goal in their respective tracks, which is a wonderful sense of listening: the two of them freely echo each other on their respective instruments, adding their own unique free space to the tacit understanding. Isn’t this exactly what Brahms wrote in his three violin sonatas for his lifelong lover Clara Schumann? “The two have been in love for a long time, why do you often miss each other?”!
