Boris Abramov & Carmine Miranda - Mozart & Beethoven: Violin & Cello Duets (2017) [Hi-Res]

Tracklist
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01. Duo for Violin & Viola in G Major, Op. 28 No. 1, K. 423 (Arr. C. Miranda for Violin & Cello): I. Allegro
02. Duo for Violin & Viola in G Major, Op. 28 No. 1, K. 423 (Arr. C. Miranda for Violin & Cello): II. Adagio
03. Duo for Violin & Viola in G Major, Op. 28 No. 1, K. 423 (Arr. C. Miranda for Violin & Cello): III. Rondo. Allegro
04. Duo for Violin & Viola in B-Flat Major, Op. 28 No. 2, K. 424 (Arr. C. Miranda for Violin & Cello): I. Allegro
05. Duo for Violin & Viola in B-Flat Major, Op. 28 No. 2, K. 424 (Arr. C. Miranda for Violin & Cello): II. Andante cantabile
06. Duo for Violin & Viola in B-Flat Major, Op. 28 No. 2, K. 424 (Arr. C. Miranda for Violin & Cello): III. Tema con variazioni. Andante grazioso-Allegretto-Allegro
07. Duo for Clarinet & Bassoon in C Major, WoO 27 No. 1 (Arr. F. Hermann for Violin & Cello): I. Allegro comodo
08. Duo for Clarinet & Bassoon in C Major, WoO 27 No. 1 (Arr. F. Hermann for Violin & Cello): II. Larghetto sostenuto
09. Duo for Clarinet & Bassoon in C Major, WoO 27 No. 1 (Arr. F. Hermann for Violin & Cello): III. Rondo. Allegretto
10. Duo for Clarinet & Bassoon in F Major, WoO 27 No. 2 (Arr. F. Hermann for Violin & Cello): I. Allegro affettuoso
11. Duo for Clarinet & Bassoon in F Major, WoO 27 No. 2 (Arr. F. Hermann for Violin & Cello): II. Aria. Larghetto
12. Duo for Clarinet & Bassoon in F Major, WoO 27 No. 2 (Arr. F. Hermann for Violin & Cello): III. Rondo. Allegro moderato
13. Duo for Clarinet & Bassoon in B-Flat Major, WoO 27 No. 3 (Arr. F. Hermann for Violin & Cello): I. Allegro sostenuto
14. Duo for Clarinet & Bassoon in B-Flat Major, WoO 27 No. 3 (Arr. F. Hermann for Violin & Cello): II. Aria con variazioni. Andantino con moto


Award winning cellist Carmine Miranda and violinist Boris Abramov’s new Navona release Mozart / Beethoven: Violin and Cello Duets is an intimate gem of delightful chamber music from the Classical Period. Drawn from various duos by Beethoven and Mozart, this album is substantive, and showcases a wide stylistic breadth of late eighteenth century German instrumental music, from the sumptuous levity of the divertimento, to the full brilliance of sonata form. In this recording both performers balance concepts of classical performance, musical research and virtuosic dexterity combined with a high-definition audio engineering in order to create the most realistic sound and definitive version of these works. The pieces in this recording have never been paired together. Their unique styles, and carefully researched interpretations by Miranda and Abramov, create exceptional recordings with equal parts nuance and bravado. The Beethoven arrangements come from a set for Clarinet and Bassoon composed without an opus number in the early 1790s. While Beethoven did not officially add these pieces to his catalog, the works rapidly became popular, and at least two widely distributed editions of the duos were published within his lifetime. Dating from the earliest part of Beethoven’s career, these pieces are consummately Classical, without showing much of the Romantic sturm und drang that define the two later stages of the composer’s oeuvre. With that said, the duos are utterly charming and dominated by graceful melodies and straightforward forms. They epitomize late eighteenth century chamber music. The two Mozart duos, originally composed for violin and viola, are a “better-known” treasure among violinists and violists, particularly in their approach to the era’s most important musical structure: sonata form. Indeed, both duos open with the same structural premise Mozart, Haydn, and their contemporaries more commonly used at the beginning of symphonies, piano sonatas, and string quartets. In particular, the first movement of the Duo for Violin and Viola in B-flat Major, K. 424 is remarkable, and it may be one of Mozart’s most cleverly composed instances of sonata form. The movement is wry and, frankly, humorous – a characteristic most easily heard in the exposition’s closing section and the very beginning of the development. Here, Mozart uses unusually long rests and unexpected elisions to interrupt and blur the straightforward demarcations between phrases, leading the listener to smile in surprise. This kind of compositional sarcasm is more commonly associated with the music of Joseph Haydn than Mozart, and – perhaps because Mozart composed this duo to complete a commission begun by Haydn’s brother, Michael – there are numerous harmonic and structural clues that suggest Mozart attempts to reference Haydn in the duo’s first movement. HIGHLIGHTS. This is a rare collection: With the emphasis placed on Classical era piano sonatas, string quartets, and symphonies, it is unusual to find an album offering so much of an alternative genre, which, in all likelihood, was a more common part of the composers’ contemporaneous musical life than we typically think. This is a richly inspired recording performed by two international soloists: Original woodwind parts reveal fresh nuance and surprising depth through reinterpretation on cello and violin. Those who know every note of Mozart’s and Beethoven’s catalog will still discover something new in this revelatory recording. Carmine Miranda has received several awards including two Gold, one Silver, and one Bronze Medals from the Global Music Awards for Best of Show (GMA's highest honor), Best Emerging Artist, and Best Instrumentalist, two Hollywood Music in Media Awards nominations, first prize winner of the 2005 Alhambra Music Competition, National Prize for Best Soloist from the Florida Music Educators Association, and a Distinguished Award from the 2012 IBLA international competition, among others. Miranda’s performances have been broadcast on radio stations across the United States, Europe, Latin America and Asia as well as appearing on TV stations such as PBS. This recording marks Boris Abramov’s debut on Navona Records. He has performed with ensembles and orchestras in concert halls around the world including the Jerusalem Festival, Russian XX Homecoming Chamber Music Festival, Columbus Symphony, LaGrange Symphony, Brevard Symphony, and Auburn Symphony. Mr. Abramov was appointed principal second violinist of the Columbus Symphony Orchestra and currently serves as Professor of Violin at Columbus State University’s Schwob School of Music in Georgia.

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