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Schubert: Complete works for violin and piano

Alina Ibragimova (violin) & Cédric Tiberghien (piano)

Awards:

Here we get all of Schubert's works written for violin and piano, in performances which it is hard to imagine ever being bettered...Alina Ibragimova and Cedric Tiberghien don't attempt to make...

Schubert: Complete works for violin and piano

Alina Ibragimova (violin) & Cédric Tiberghien (piano)

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This release includes a digital booklet

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Awards:

Here we get all of Schubert's works written for violin and piano, in performances which it is hard to imagine ever being bettered...Alina Ibragimova and Cedric Tiberghien don't attempt to make...

About

The luminous partnership of Alina Ibragimova and Cédric Tiberghien returns to Hyperion for this double album containing Schubert’s complete music for violin and piano. Their intelligence and technical prowess, their seamless and intimate connection as performers and their profound understanding of the music combine in magical performances.

While still in his teens, Schubert wrote four works for violin and piano that could have been given the label ‘sonata’, yet none of the four was published with that title. The first three, completed in 1816, bear instead the designation of ‘Sonatina’, perhaps to appeal to the amateur market. But these are highly accomplished works by the teenage composer and there is little ‘domestic’ feeling in the extended, mysterious unravellings of D385 which hint at compositions yet to come.

The later Violin Sonata in A major, D574 (now described as a ‘Duo’), urges the violinist on to greater virtuosic feats, and the Rondo in B minor even more so, with the piano sometimes treated as a surrogate orchestra. The extensive Fantasy in C major, written in the last year of Schubert’s life, is a masterpiece: the composer’s greatest achievement in this genre, which combines poignancy with sheer joy in life itself.

Contents and tracklist

I. Allegro molto
Track length6:39
II. Andante
Track length3:53
III. Allegro vivace
Track length3:51
I. Allegro moderato
Track length7:59
II. Andante
Track length6:36
III. Menuetto: Allegro
Track length2:11
IV. Allegro
Track length4:21
I. Allegro giusto
Track length6:42
II. Andante
Track length6:22
III. Menuetto
Track length2:20
IV. Allegro moderato
Track length3:50
I. Allegro moderato
Track length8:11
II. Scherzo: Presto
Track length4:09
III. Andantino
Track length3:43
IV. Allegro vivace
Track length5:09
I. Andante molto –
Track length3:36
II. Allegretto –
Track length4:47
III. Andantino –
Track length9:29
IV. Tempo I – Allegro vivace
Track length5:35

Spotlight on this release

Awards and reviews

September 2013

Here we get all of Schubert's works written for violin and piano, in performances which it is hard to imagine ever being bettered...Alina Ibragimova and Cedric Tiberghien don't attempt to make them bigger or greater than they are.

September 2013

These performances exhibit that feeling of spontaneous enjoyment which animated Ibragimova and Tiberghien's live Beethoven set from the Wigmore Hall. Their playing is constantly graced by small touches of rubato, never very much but enough to give a sense of freedom and individuality

10th September 2013

These are magical performances by two young artists who clearly enjoy the joint experience of music-making. Intelligence and integrity mark these interpretations out with distinction. I was very taken by the rich tone of the violin, which is an Anselmo Bellosio of 1775... This is one of the listening highlights of my year - all in all a consummate achievement.

5th August 2014

It is fantastically vibrant playing, technically brilliant and always stylish. As in their previous discs together, Alina Ibragimova and Cédric Tiberghien play with a real rapport and affinity, and Tiberghien’s sensitive touch and ability to identify the most crucial harmonies and allow them just that fraction more time helps elevate this music making to the very highest level.

4th August 2013

Most bewitching of all, and performed with a lightness and poise by this established duo, is the Fantasy in C major, breaking convention at every turn, written in 1827.

25th July 2013

The wise judgment of scale and perspective is a conspicuous feature of their playing here...Ibragimova and Tiberghien adopt an intimate, gently expressive manner in the early sonatas, though it can still possess rhythmic gusto...Ibragimova and Tiberghien encompass the [later] music with exhilarating flair but, as in the earlier works, with a keen stylistic ear.

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