Agnes Zimmermann: The Violin Sonatas
Born in Cologne, Agnes Zimmermann (1847–1925) settled in London as a child. She made her concert debut in 1863, playing the ‘Emperor’ Concerto, and was soon celebrated as one of Europe’s more important pianists, her partners in chamber music including Clara Schumann, Joseph Joachim, Alfredo Piatti and Wilma Neruda, Lady Hallé. She enjoyed a reputation also as teacher, music editor and composer. At the centre of her modest output of compositions are three substantial violin sonatas. Dramatic and lyrical by turn, and always beautifully crafted, they lie somewhere between Mendelssohn and Brahms, but demonstrate an impressively personal musical voice.
Mathilde Milwidsky, violin
Sam Haywood, piano
FIRST RECORDINGS
Listen To This Recording:
-
Sonata for Piano and Violin No. 3 in G minor, Op. 23 (1879)
- I Allegro moderato
- II Andante affetuoso
- III Scherzo: Allegro grazioso
- IV Finale: Allegro appassionato
- I Allegro assai
- II Scherzo: Allegro scherzando
- III Andante cantabile
- IV Finale: Allegro grazioso
- I Allegro
- II Scherzo: Allegro grazioso
- III Andante tranquillo
- IV Finale: Allegro vivace
Sonata for Piano and Violin No. 2 in A minor, Op. 21 (1875)
Sonata for Piano and Violin No. 1 in D minor, Op. 16 (1868)
MusicWeb International :
‘I was struck by the quality of the composition in these works when sampling them online, and the works in their entirety have proven equally impressive. You can add the name Agnes Zimmermann to your list of female composers who deserve to be programmed more often, and with these three sonatas now in the public domain there is no excuse for their absence.’
—Dominy Clements, MusicWeb International
Fanfare :
‘These three violin sonatas are not just magnificent music, they’re masterpieces[…]London-born violinist Mathilde Milwidsky is simply terrific, her tone, technique, and temperament the ideal mix and balance for these works; and the same can be said of her pianist partner Sam Haywood.’
—Fanfare
Charlottesville Classical :
‘Violinist Mathilde Milwidsky performs in a direct fashion as well. Her vibrato is a little understated, letting her instrument sing with a clean, clear sound. She and pianist Sam Haywood perform well as partners. Milwidsky and Haywood play with insightful nuance. The phrasing is subtle, as are the dynamic contrasts.
But for Zimmermann’s music, it all works. Stylistically, I’d place these works somewhere between Schumann and Brahms. But that’s just an approximation. Zimmermann had her own voice, and one I was glad to hear. That’s why labels matter. Had these been released a label other than Toccata Classics, I might not have taken a chance.’
—Ralph Graves, Charlottesville Classical
Arcana.FM :
‘Does it all work?
Yes, in that Zimmermann was essentially a consolidator of the chamber tradition stretching from Beethoven, through Schumann, to Brahms. Her violin sonatas are at least equal to those by such British contemporaries as Parry and Stanford in their conviction and craftsmanship.
Is it recommended?
Indeed. Mathilde Milwidsky is an unfailingly persuasive exponent and astutely partnered by Sam Haywood. Sound is unexceptionally fine, and Peter Fribbins pens a detailed analytical overview.’
—Richard Whitehouse, Arcana.FM