Claude Debussy: Sonata for Violin and Piano in G minor
Leos Janacek: Sonata for Violin and Piano
Richard Strauss: Sonata for Violin and Piano in E-flat major, Op. 18

At first glance, Claude Debussy, Leos Janacek and Richard Strauss may not seem like ideal roommates, but if you compare listening to this new recording to sitting down to a fine meal, it comes together very well. The Sonata of Claude Debussy is like a light and airy appetizer or amuse-gueule, with subtle hints of tzigane freedom mingling with French discipline and precision, all meant to arouse a curiosity for what comes next. On the other hand, the Sonata by Leos Janacek laid out over four movements, can be seen as the main course of the meal, full of bold flavours and folk-inspired spices that would satisfy anyone's appetite. And of course, the Richard Strauss Sonata is the rich and decadent dessert, loaded with lush and romantic ingredients to please any discerning palate.

Claude Debussy (1862-1918) wrote his Sonata for Violin and Piano in G minor during the last year of his life. Its piano part is written in typical Debussy fashion, in what sounds like a collage of various composition techniques used throughout is life, while the violin is given liberties to speak freely, stringing together a wide and varied range of ideas atop the piano's support, which lends the whole work a very casual, nonchalant and even insouciant demeanour. Surprising considering the fact that the composer was struggling with cancer at the time. There's a fairly high number of recordings of the Sonata for Violin and Piano by Leos Janacek (1854-1928), and I think its popularity stems from its highly earnest expressive discourse influenced by the effects of the Great War during which it was written. In typical Janacek fashion, it is nothing if not unusual. Its Ballada movement in particular is quite lyrical and evocative in its strange and child-like simplicity. The most extroverted of all three is the Sonata for Violin and Piano in E-flat major, Op. 18 by Richard Strauss (1864-1949), written in 1888 by a composer in his twenties riding the crest of late 19th century romanticism. The opening piano chords, bold and jubilant, set the tone of the whole work. A composition that imposes high technical demands on both parties.

Spanish violinist Aitzol Iturriagagoitia enhances the diverse nature of these three disparate works, not only by capturing their highly individual character, but also by applying his own array of tones and colours to certain passages, stressing either the inherent gypsy elements of one or the highly aesthetic confidence of another. Pianist Enrique Bagaria consistently provides the proper weight, drama and musical narrative that spurs on the violinist to aspire even higher. The audio recording itself sets a natural soundstage with the piano well focused in the center of both channels and positions the violinist standing slightly more to the left. This of course is in the standard stereo playback, but since this recording is a Hybrid SACD the effect is probably even more tangible in its Surround output.