“These excellent, passionate performances enhance Delius’s reputation as a composer of chamber music no end. In the three numbered violin sonatas, as in the early, posthumously published B major, the romantic ardour and aspiring gestures achieve an ideal equilibrium with Delius’s more wistful moods.” --The Telegraph, 25th June 2009 ****
“In Susanne Stanzeleit and Gusztáv Fenyö they have certainly found worthy interpreters: the subtlety of their rubato and the sheer responsive plasticity of Stanzeleit's phrasing of the long melodic lines, which can so often seem to meander but here are a moment-to-moment index of feeling, are exemplary.” --BBC Music Magazine, August 2009 ****
“In Susanne Stanzeleit and Gusztáv Fenyö they have certainly found worthy interpreters: the subtlety of their rubato and the sheer responsive plasticity of Stanzeleit's phrasing of the long melodic lines, which can so often seem to meander but here are a moment-to-moment index of feeling, are exemplary.” --BBC Music Magazine, August 2009 ****
Susanne Stanzeleit (violin) & Gusztáv Fenyo (piano)
Beneath the shimmering surface of Delius’s little-known violin sonatas are the latent exuberance and nostalgic rapture which have made his orchestral music so popular.
Across the decades separating the B major Violin Sonata of 1892 from the Third Violin Sonata of 1930, Delius developed a unique musical language which leavened the post-Romantic heritage of Wagner with French Impressionism and European and Afro-American folk idioms; an intoxicating mix that moved Sir Thomas Beecham to call him ‘the last great apostle in our time of beauty and romance in music’.
Suzanne Stanzeleit has been praised by The Strad for her “very considerable style… magnificent flourishes and proud rodomontade.”
Beneath the shimmering surface of Delius’s little-known violin sonatas are the latent exuberance and nostalgic rapture which have made his orchestral music so popular.
Across the decades separating the B major Violin Sonata of 1892 from the Third Violin Sonata of 1930, Delius developed a unique musical language which leavened the post-Romantic heritage of Wagner with French Impressionism and European and Afro-American folk idioms; an intoxicating mix that moved Sir Thomas Beecham to call him ‘the last great apostle in our time of beauty and romance in music’.
Suzanne Stanzeleit has been praised by The Strad for her “very considerable style… magnificent flourishes and proud rodomontade.”
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