Schumann: Violin Sonatas

Genteel readings of sonatas written when the composer was hovering on the cusp of madness

Listen to this article


Dating from the early 1850s, when Schumann was hovering on the cusp of madness, these three sonatas are characterised by a fractured lyricism – melancholy in mood, almost obsessively restless, but also surging with passion. Marwood, matched at every step by Madzar, captures the playfulness and whimsical poetry of the First Sonata, the nobility of the Second and gypsy-like brilliance of the Third. Even so, there’s a whiff of the genteel about these readings: they lack the size and go-for-broke quality that distinguishes Renaud Capuçon’s live performances on EMI from Martha Argerich’s Lugano chamber music festival.


Violin Sonatas

Anthony Marwood/Aleksander Madzar

(Wigmore Hall)

Copyright The Financial Times Limited 2017. All rights reserved. You may share using our article tools. Please don't copy articles from and redistribute by email or post to the web.