Les Saisons Francaises
Anna Ovsyanikova (violin), Julia Sinani (piano)
Full marks for a programme that manages on paper to be both distinctive and instinctive, and these two words could equally be applied to how it sounds...with Ovsyanikova’s attractively full...
Les Saisons Francaises
Anna Ovsyanikova (violin), Julia Sinani (piano)
Purchase product
Full marks for a programme that manages on paper to be both distinctive and instinctive, and these two words could equally be applied to how it sounds...with Ovsyanikova’s attractively full...
About
Les Saisons Françaises is the debut album of Russian-born, London-based duo Anna Ovsyanikova (violin) and Julia Sinani (piano), inspired by the French music of the first half of the 20th century. This scintillating programme features music by four composers: Debussy, Boulanger, Ravel and Poulenc. It opens with Claude Debussy’s much-loved sonata for violin and piano, which has rightly found its place in most violinists’ repertoire. Lili Boulanger was a female composer who held Debussy in high regard. Her life was tragically cut short by chronic illness, but she was nevertheless a prolific composer, and her Deux Morceux are exquisite examples of her work. Maurice Ravel’s rarely performed Sonata No. 1 consists of only one movement - perhaps, had he not abandoned the project, it would have had more. It is an intriguing, sometimes enigmatic piece that deserves to be better known. The finale is Francis Poulenc’s only surviving sonata for violin and piano. It is presented on this recording in its original and latest versions. Written for and with the help of a celebrated violinist Ginette Neveu, Poulenc made changes to the last movement after her death.
Contents and tracklist
- Anna Ovsyanikova (violin), Julia Sinani (piano)
- Anna Ovsyanikova (violin), Julia Sinani (piano)
- Anna Ovsyanikova (violin), Julia Sinani (piano)
- 1949 Version
- Anna Ovsyanikova (violin), Julia Sinani (piano)
Awards and reviews
October 2020
Full marks for a programme that manages on paper to be both distinctive and instinctive, and these two words could equally be applied to how it sounds...with Ovsyanikova’s attractively full and velvety tones complemented by correspondingly cloaked tones from Sinani, it’s all a sound world that I’d have placed as Russian school even had I not known who was playing.
Classical Music September 2020
[Poulenc] The opening Allegro con fuoco fizzes along, its fire decorated by Ovsyanikova’s generously sweet tone. The Intermezzo is a moment of calm before they play two versions of the Presto tragico, its later revision and then its slightly longer original. These musicians are new to me but on this showing are impressive.