CD, стоящие на полке рядом : Classics (Guru)      

Recorded 1987, 1989, 1994

June 1987, Utrecht (Bartok)

April 1989, London (Prokofiev No.2, Stravinsky)

July 1994, Forde Abbey, Chard, England (Janacek, Debussy, Prokofiev No.1)

It seems that the principles of sonata form - contrasting themes, development and recapitulation - remained a resilient frame of reference in much twentieth-century music, at least up until the immediate postwar period, by which time all the music in this collection had been written. But when they came to write a self-proclaimed violin sonata, most of the composers represented here did not draw on one concept of the Classical sonata alone, but alluded to a range of traditions and ideas.

- Amazon.com customer

Without repeating the raves for the Prokofiev, I must add how very very impressive Mullova and Anderszewski are in the Debussy. What a grand sweeping performance, calling to mind the titans of many years ago in its command, drive, and passion. This must be heard! [...] Mullova sounds far more at home in the moderns, and she plays far more passionately here than she does in her forays into Mozart, and while that probably is proper, the point is that she really goes to town in the moderns. The recording stage of the Janacek and the Debussy sonatas, from 1995, is better than the Prokofief by a bit - but this is all together just one super set. If you haven't any examples of Mullova in modern music you're missing out!

- Amazon.com customer

What a musicianly violinist Viktoria Mullova is. It shows in her versatility of manner as well as of tone-colour. There is a hint of demureness to the opening of her Tchaikovsky-based Stravinsky, but no lack of richness to the second theme or of bite to the toccata-like pages later on. And how carefully she listens to her pianist, realizing in the slow movement of the Ravel that against his deft wit she can afford to wear her heart on her sleeve a little; something similar happens in the finale of the Stravinsky. Her palette of tone colour allows her an intimacy of expression elsewhere in the Ravel, together with a quality that I can only describe as an earnest ardour. Gentleness seems to be the tone set for her Prokofiev, but then with an impulsive spurt towards the second theme she shows that exuberance forms part of her make-up, too; that and (not only in the Prokofiev) a delightful touch of carefree good humour.

A splendid coupling, in short, and a detailed comparison with the formidable list of rival versions [...] comes out almost wholly in Mullova's favour. [...] And Philips's recording for Mullova, intimate but very natural, with an exemplary balance between violin and piano, is pretty well ideal.

- Gramophone (partial review)