Edvard Hagerup Grieg (1843-1907)
Violin Sonata No.1 in F Op.8 (1865)
Violin Sonata No.2 in G Op.13 (1867)
Violin Sonata No.3 in C minor Op.45 (1886)
Yehudi Menuhin (violin), Robert Levin (piano)
rec. October 1957, EMI Abbey Road Studio 3, London, UK
Pristine Audio PACM 131 [64]

This is a valuable rediscovery: Menuhin in prime form plays Edvard Grieg’s three violin sonatas. It is sensible to start with the quality of the recording, in early but real stereo. Andrew Rose has put it through his XR remastering process, and the results are predictably impressive. Menuhin’s violin is rich and sweet, with only the merest trace of wiriness on the high notes. The piano is amazingly full and resonant, though isolated high notes can sound a bit tinny. But these marginal blemishes need not put off anyone who would like to hear Menuhin in these works.

Although they are not heard nearly as often as Brahms’s three violin sonatas, those by Grieg are of comparable quality. Indeed, the composer considered them to be among his best works. In fact, he wrote little chamber music. He also composed the String Quartet Op.27 and the Cello Sonata Op.36. There are several other unfinished chamber works, notably a second string quartet completed by Julius Röntgen.

Grieg wrote the first violin sonata when he was twenty-two, the second two years later while he was on his honeymoon. They show the influence of the Norwegian nationalist composer and violinist Ole Bull (1810-1880), who took the young Edvard Grieg under his wing and facilitated his musical education. Another influence was the folk music played on the Hardanger fiddle. It has sympathetic strings under those which are played, a flatter bridge, and often a very ornamental design.

The first sonata, in the same key as Beethoven’s Spring sonata for violin and piano, has a similar feeling to it. The first movement is in sonata form. In the second, you can hear the influence of the Hardanger fiddle repertoire. The cheerful finale is built from three melodies.

The second sonata is even more imbued with the folk spirit. The first movement is grander than in the first sonata, the second has a beautiful tune, and the finale is based on dance rhythms.

The third sonata, Grieg’s last chamber work, is rather different – much more serious and dramatic than its predecessors. It is rather similar in mood to Brahms’s D minor violin sonata, though that is a rather later work. The first movement is dark and powerful. The second movement has one of those themes you think you have known all your life. The finale is adventurous and vigorous.

Menuhin commands all this with the ease and musicianship that one would expect. He also has no difficulty with the occasional very fast and skittish passages, and his intonation is impeccable. His partner on the piano, who provides excellent support, is Norwegian Robert Levin (not to be confused with the American pianist and musicologist Robert Levin, who has made the best modern reconstructions of Mozart’s C Minor Mass and Requiem).

There are, of course, other recordings of this repertoire; I should put in a word for Hagai Sham and Arnon Erez on Hyperion. But if you collect Menuhin or simply want to hear some fine violin playing, this will do very nicely.

Stephen Barber