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Brahms, Schumann

Fanny Robilliard (violin), Paloma Kouider (piano)

Brahms, Schumann
Fanny Robilliard and Paloma Kouider bring all the necessary intensity and sense of unease to the first movement of Robert Schumann’s A minor Violin Sonata…the strengths of their performance...

Brahms, Schumann

Fanny Robilliard (violin), Paloma Kouider (piano)

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Fanny Robilliard and Paloma Kouider bring all the necessary intensity and sense of unease to the first movement of Robert Schumann’s A minor Violin Sonata…the strengths of their performance...

About

From Brahms to Dietrich, violinist Fanny Robilliard and pianist Paloma Kouider conjure up the ghosts of the Schumanns’ destiny. The programme explores the works that left their mark on their existence, from the F-A-E Sonata to Brahms’ second Violin Sonata.

Behind these works one can see the existence of the piano virtuoso Clara Schumann appear. Linked by the A key, Clara’s key, both Schumann’s and Brahms’ sonatas bear the secret presence of their loved one, each revealing one aspect of passion. Indeed, the melancholic sway of Robert Schumann’s first Violin Sonata faces the radiant lyricism of Brahms’.

In this inextricable tangle, Fanny Robillard et Paloma Kouider set Clara Schumann at the centre of this album, not reducing her to her inspirational role, by adding her Three Romances to the programme. The backbone of this record, this work shows how strong were her creative forces as it builds this musical and poetic path.

Contents and tracklist

I. Mit leidenschaftlichem Ausdruck
Track length7:47
II. Allegretto
Track length3:50
III. Lebhaft
Track length5:25
I. Allegro amabile
Track length7:58
II. Andante tranquillo
Track length6:05
III. Allegretto grazioso (quasi Andante)
Track length5:06

Awards and reviews

July 2020

Fanny Robilliard and Paloma Kouider bring all the necessary intensity and sense of unease to the first movement of Robert Schumann’s A minor Violin Sonata…the strengths of their performance [of the Brahms] lie in the wonderfully integrated sense of interaction achieved between the two instruments, and their refusal to superimpose mannerisms onto the music.
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