葛利格:3首小提琴奏鳴曲(作品8.13.45)

‧恩碧歐荷姆欣／小提琴
‧賽門崔普傑斯基／鋼琴

在錄製了備受讚譽的德佛札克, 蕭士塔高維契, 譚盾和約瑟夫蘇克的作品之後, 挪威小提琴家恩碧歐.荷姆欣搭配鋼琴家賽門.崔普傑斯基一起回歸根本發行這片葛利格演奏會專輯. 葛利格的這三首小提琴奏鳴曲標註了這位作曲家藝術生涯的一個決定性發展階段. 他在22歲時仍然試圖擺脫在萊比錫音樂學院(Leipzig Conservatory)訓練中受到令人討厭的影響時完成了第一號F大調奏鳴曲. 此作品仍然帶有德國浪漫作品的標記, 但也包含引用挪威民俗舞蹈音樂和挪威哈丹格爾小提琴(Hardanger fiddle)技巧, 這些特徵讓此作品在首演時被認為是`帶來一股清新的空氣`.

兩年後, 在1867年, 葛利格已經積極的參與挪威獨立運動中的一個建立民族文化的計畫. 在他的第二號奏鳴曲中, 他比以前更一致的引用民族特色尤其是讓他的挪威聽眾們反應熱烈. 葛利格最後的`小提琴之罪`(依他自己的描述)是第三號c小調小提琴奏鳴曲, 他最後的一件室內樂作品, 是在第二號奏鳴曲之後20年才完成. 那時他已經是一位國際知名的作曲家, 鋼琴家兼指揮家. 這首奏鳴曲反映出他生命中的這個新的階段, 而葛利格自己的描述是如同擁有一個`較廣闊的視野`. 在此片的結尾是荷姆欣演奏自己的作曲(歸鄉). 這是從她成長的山谷地區的曲調的一組變奏曲, 就如同向葛利格友善的打招呼, 他在幾乎150年前的大型敘事曲作品24號也用了同一曲調.

Following acclaimed recordings of concertos by Dvorakand, Shostakovich, by Tan Dun and Josef Suk, the Norwegian violinist Eldbjorg Hemsingre turns to her roots in this Grieg recital, joined by Simon Trpceskiat the piano. Each of EdvardGrieg`s violin sonatas marks a decisive phase in the composer`s artistic development. He completed the F major Sonata at the age of 22, while still trying to break free from the heady influences he had received during his training at the Leipzig conservatory. The work still bears the stamp of German romanticism, but it also includes references to Norwegian folk dances and Hardanger fiddle techniques, features that were perceived as `a breath of fresh air` when the work was premiered.

Two years later, in 1867, Grieg had become deeply involved in the project of constructing a national culture, as part of the movement for an independent Norway. In his Sonata No. 2, he exploited national characteristics far more consistently than before and especially his Norwegian audience reacted with great enthusiasm. Grieg`s final `crime for the violin`, as he described it, was the Violin Sonata in C minor, composed 20 years after Sonata No. 2 and the last piece of chamber music that he completed. He was now an internationally respected composer, pianist and conductor and the sonata reflects this new stage in his life, which Grieg himself described as having a `wider horizon`. Closing this disc, Eldbjorg Hemsing plays her own composition Homecoming. It is a set of variations on a tune from the valley where she grew up, as well as a friendly nod to Grieg, who used the same tune almost 150 years ago in his large-scale Ballade Op. 24.