Béla Bartok composed his Sonata for violin solo (1944) after emigrating from Hungary to the USA on the outbreak of World War II. A few years before, he had openly expressed his aversion to Hitler and the rise of the Nazis, refusing to play his own
music or have it performed in Germany. Bartók was consequently boycotted almost everywhere, particularly in pro-German countries. Political developments in Hungary and surrounding dictatorships became such an unbearable torment, that after long hesitation he said farewell to his fatherland (and to his mother). In North America, however, the composer and his wife could hardly settle. For many years Bartok did not compose, and he felt that he would never be able to do so again. He darted through the overcrowded streets of New York like an anxious animal. He felt like a miserable and uprooted stranger, became ill, and weighed hardly 44 kilos in 1943. Bartók died of leukaemia in New York in 1945
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:09:37
Additional information
| Label | |
|---|---|
| SKU | 34413 |
| Qualities | |
| Channels | 2ch Stereo, 5 Channel Surround Sound, 2ch Stereo & 5ch Surround |
| Artists | |
| Composers | |
| Genres | |
| Cables | van Den Hul |
| Digital Converters | Grimm DSD AD |
| Mastering Engineer | Jared Sacks |
| Mastering Equipment | B&W 803 Diamand Series |
| Microphones | Bruel & Kjaer, Schoeps |
| Mixing Board | Rens Heijnis custom made |
| Instruments | |
| Original Recording Format | |
| Producer | Jared Sacks |
| Recording Engineer | Jared Sacks |
| Recording location | Westvest Schiedam, The Netherlands |
| Recording Software | Pyramix |
| Recording Type & Bit Rate | DSD64 |
| Release Date | August 18, 2015 |
Press reviews
Opus Klassiek
(…) Dit is een schijfje voor fijnproevers, met de beste stukken voor de solistische viool die de twintigste eeuw heeft voortgebracht. (…) Schitterend, net als de rest van dit unieke en gedurfde recital, dat ook nog eens voorbeeldig is opgenomen.
Musicweb
(…) Every aspect of Ning Feng’s playing seems to be under extraordinary control. The even-ness of his tone production whether high, low, slow and sustained or precipitously fast is remarkably similar. Usually you can perceive a degree of technical strain in the way the tone hardens or some passage-work might fractionally blur – not here, every note and strand of music remains crystal clear.
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