Boundless
Boundless
Artist: Mina Gajić & Zachary Carrettín
Composer: Schubert
Format: 1 CD
DSL-92240
Available Now!
An invigorating and inspired performance of Schubert's early Romantic works for violin and piano, performed on exquisite historical instruments. Mina Gajić plays upon an immaculate Érard concert grand piano built in 1835. Zachary Carrettín plays a gut-strung, classically set up violin by Franz Kinberg (1963) with a John Dodd pre-Tourte model bow from circa 1800. The result is transparency in texture, a diversity of tonal colors, and tempos that dance with aplomb. The three sonatinas were composed for chamber music in the salon, musical works to be enjoyed by musicians and their friends. Gajić and Carrettín capture the unassuming spirit of these charming, and at times dramatic works, recorded in an intimate recital hall at a private wildlife sanctuary in Colorado.
Mina Gajić performs on a pristine collection of historic pianos by Pleyel and Érard in addition to contemporary instruments, and is the Artistic Director of Boulder Bach Festival. She is also the founder and Artistic Director of Boulder International Chamber Music Competition, BICMC-Art of Duo.
Zachary Carrettín is Music Director of COmpass Resonance Ensemble (CoRE), a chamber orchestra that performs 500 years of repertoire, historically-inspired, and on original instruments. In addition to conducting orchestra, chorus, and opera, he performs on violin, viola, and cello da spalla.
Track List
No. 1 in D major, D 384
1. Allegro molto
2. Andante
3. Allegro vivace
No. 2 in A minor, D 385
4. Allegro moderato
5. Andante
6. Menuetto: Allegro
7. Allegro
No. 3 in G minor, D 408
8. Allegro giusto
9. Andante
10. Menuetto
11. Allegro moderato
Total time: 56:24
Release date: March 27th, 2020
UPC: 053479224026
“The playing of these two invaluable artists: gentle, elegant, utterly Romantic and romantically intimate is perfect for these works of the young Schubert...”
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Quotes & Reviews
“Carrettin and Gajić not only get the relationship between the instruments exactly right but also benefit enormously from their decision to play the pieces as Schubert himself would have heard them, on period instruments whose sound (especially that of the piano) is very different from what is heard on other recordings of these works. No matter how fine those other versions may be, and some are very fine indeed, these are superior from a sheer sonic standpoint – and provide tremendous insight into how Schubert saw and heard the conversational elements of the sonatas.”