BEE1H0VEN – The Complete Violin Sonatas + Video

Luister, december 2024 4 out of 5

Musici met een uitgesproken historisch geïnformeerde speelstijl die hun sporen hebben verdiend in pre romantisch repertoire kunnen de luisteraar verrassen als ze muziek gaan spelen uit latere periodes. Dat doen Shunske Sato en Shuann Chai op tal van plaatsen in deze set van Beethovens piano/viool-viool/piano sonates…De levendige manier waarop de motieven worden gekarakteriseerd, de afwisselend sprekende en dan weer zingende dictie, de vrije omgang met ritme en tempo, de talloze expressieve portamenti – naar de toon toe glijden – dit is echt onderscheidend…Met wat we weten over de temperamentvolle manier waarop Beethoven zijn eigen werken uitvoerde, maakt het voorstelbaar dat het ongeveer zo geklonken zou kunnen hebben…Het is een set voor wie eens met de Beethoven-sonates op avontuur wil.

Hans Quant

Klassik Magazin, february 2025 5 out of 5

What makes this complete recording stand out for the reviewer is its historically informed approach, imbued with the spirit of improvisation that was also typical of Beethoven’s playing – one need only think of the opening solo of the “Choral Fantasy,” which was supposedly improvised – and which, above all, brings to light in an inimitable way the dance-like, humorous element in his personal style, an element that is so often neglected. These works have rarely been heard so free of any patina or artificial rigidity. If one were to look for a purely pianistic equivalent, it would probably be found, albeit somewhat less pronounced, in Rudolf Buchbinder, who also loves to groove to Beethoven’s music. With regard to the duo playing, this playful freedom manifests itself in an initially unheard-of rubato between piano and violin, so that both instruments sometimes seem to operate side by side – a prime example of this is the first movement of the Kreutzer Sonata. After a brief adjustment period, however, the disarming effect of naturalness sets in, making one want to rub one’s ears in astonishment. Added to this are the many musically meaningful embellishments, especially in Shunske Sato’s violin playing. Indeed, Sato’s agogic flourishes, his use of color, and his overall phrasing are extremely expressive, yet never stray too far from the score, instead breathing individual life into it. In their dreamlike, assured interplay with Shuann Chai – the duo is a married couple – they achieve the seemingly impossible: to combine Beethoven’s incomprehensible compositional effort and the meticulously crafted structures of his works with the freedom of improvisation. The captivating soundscape, with its vivid spatiality, further enhances the overall impression.

Aron Sayed - Source

Early Music Review, October 2025

It would be possible but probably tedious to continue enumerating many small points, but I do hope readers with a sense of enquiry will explore these vital and probing performances. They seem to me a part of a definite, but as yet largely unrecognised, and wider movement to re-examine the whole question of rhetorical expression and the release of emotion in music of the 18th and early 19th centuries.

Brian Robins - Source

MusicWeb International, december 2024

Violinist Shunske Sato and pianist Shuann Chai have played all of these sonatas before as a mini-marathon, and they have a special connection with the ‘Kreutzer’ Sonata, the very first piece they played together. Aside from years of performing these works, this recording is also based on a good deal of research into historical sources and old recordings. Both musicians are early-music specialists, and with the sprightly tang of two nicely restored fortepianos to represent changes in instrument making between the earlier and later sonatas we know we are in the presence of thoughtful and well-prepared playing. In the booklet Shaunn Chai states that “‘copying’ Beethoven is never the goal. Anyway, from what we know about his edgy and near-scandalous performances, I get the feeling that nothing we do now would be far enough!” Regarding their recording philosophy, Shunske Sato adds: “we’re often confronted with choosing between a technically clean but uninteresting take, and a musically captivating take that contains some imperfections.”

What you get here is a set of superbly recorded works, with an excellent balance between the fortepiano and violin. Beethoven throws his melodic invention liberally between each instrument, and with plenty of positive energy in articulation and dynamic give and take there is an equality of status between each instrument in these performances that is really stimulating. The fortepiano sound from both instrumentst, by Michael Rosenberger of Vienna from 1800 and ca. 1820, is excellent, and each with an attractive richness of resonance and colour that stands on its own. The violin is set up with gut strings which gives the sound a ringing clarity and a gruff directness that suits Beethoven’s extremes of contrast very well indeed. The venue for the recording us a well-known location for chamber music recordings with a pleasantly resonant church acoustic that is nicely captured here without sacrificing any detail.

Dominy Clements - Source

De Volkskrant, november 2024 4 out of 5

Gedurende dertien dagen hebben ze zich afgezonderd in een Schiedamse kerk annex studio en het resultaat is verbluffend….levendige fraseringen en weerbarstige contrasten in tempo en dynamiek. Sato en Chai scheppen een klankwereld die je idealiter al fijn proevend, beetje bij beetje, tot je laat komen….Zo dansen ze lichtvoetig en dan weer boertig door de Vijfde vioolsonate ‘Frühling’ heen. Het eerste deel van de Negende, ‘Kreutzer’, heeft nog nooit zo desolaat en boos geklonken. De Tiende was niet eerder zo balsemend.

Maartje Stokkers

Pizzicato, November 2024 5 out of 5

Their interpretations are not only historically informed. They also sparkle with small, unusual unevenness, often refreshingly spontaneous, sometimes even a little mannered…Overall outweighs by far the positive impression of committed and lively interpretations that make the works sound freshly told. This may come close to the improvisatory side of Beethoven’s own playing, which Czerny attributed to his teacher…In this way, they clearly demonstrate that the works offer great expressive power without overstretching the creative arc…Their playing remains exciting throughout…The well-balanced, slightly dry sound rounds off this collection perfectly.

Ihre Interpretationen sind nicht nur historisch informiert angelegt. Sondern sie sprühen auch von kleinen ungewöhnlichen Unebenheiten, die oft erfrischend spontan, manchmal auch ein wenig manieriert wirken…Insgesamt überwiegt jedoch bei Weitem der positive Eindruck von engagiert lebendigen Interpretationen, die die Werke wie frisch erzählt klingen lassen. Damit mögen sie der improvisatorisch anmutenden Seite von Beethovens eigenem Spiel nahekommen, die Czerny seinem Lehrer nachgesagte…Damit zeigen sie deutlich, dass die Werke eine große Ausdruckskraft bieten, ohne den gestalterischen Bogen zu überspannen…Ihr Spiel bleibt durchgehend spannend…Das gut austarierte leicht trockene Klangbild rundet dieses Konvolut bestens ab.

Pál Körtefa - Source