A Comparison of Manze and Szigeti's recordings of La Follia from Corelli's Sonata for Violin Op. 5, no 12.
A Comparison of Manze and Szigeti's recordings of La Follia from Corelli's Sonata for Violin Op. 5, no 12.
Andrew Manze, an English violinist, and Joseph Szigeti, an American violinist are both internationally renowned for their Baroque playing1. I am going to take a look at each of their recordings of Corelli's La Follia, the difference being however, that they are playing from separate scores and interpretations of the piece. Manze's recording has been done from an earlier, more original copy of the score (I will call it score 1), with few written musical directions. Szigeti's recording is performed using the same piece, however it has been edited by Leonard and Sauret (score 2) to include many musical directions and rearranged movements. Manze's recording was done in 2002 and Szigeti's in 1940. La Follia consists of a variety of different sections; Corelli will jump from warm adagios to fast and exciting vivace sections, this exciting and beautiful style of writing meant his sonatas provided a basis for composers to follow for another half a century.
The most obvious difference one can pick up from the first few bars of both recordings is the different accompanying instruments. Manze, playing from score 1, is accompanied by Richard Egarr on harpsichord, typical of the baroque period. Szigeti however is accompanied by a piano, much more typical of the late romantic style of which he played. The style of playing in each the recording is also very particular to the scores that they play from. Szigeti lived at the end of the late romantic period and the sound he produces reflects fiercely of that era. In his recording we hear a lot of vibrato and overdramatised glissandos from note to note, making this recording a perfect example of its time. Manze on the other hand uses a much more subtle vibrato and refrains from sliding between notes.
Szigeti largely keeps to the score throughout the recording. Apart from a few moments such as him playing the original
Andrew Manze, an English violinist, and Joseph Szigeti, an American violinist are both internationally renowned for their Baroque playing1. I am going to take a look at each of their recordings of Corelli's La Follia, the difference being however, that they are playing from separate scores and interpretations of the piece. Manze's recording has been done from an earlier, more original copy of the score (I will call it score 1), with few written musical directions. Szigeti's recording is performed using the same piece, however it has been edited by Leonard and Sauret (score 2) to include many musical directions and rearranged movements. Manze's recording was done in 2002 and Szigeti's in 1940. La Follia consists of a variety of different sections; Corelli will jump from warm adagios to fast and exciting vivace sections, this exciting and beautiful style of writing meant his sonatas provided a basis for composers to follow for another half a century.
The most obvious difference one can pick up from the first few bars of both recordings is the different accompanying instruments. Manze, playing from score 1, is accompanied by Richard Egarr on harpsichord, typical of the baroque period. Szigeti however is accompanied by a piano, much more typical of the late romantic style of which he played. The style of playing in each the recording is also very particular to the scores that they play from. Szigeti lived at the end of the late romantic period and the sound he produces reflects fiercely of that era. In his recording we hear a lot of vibrato and overdramatised glissandos from note to note, making this recording a perfect example of its time. Manze on the other hand uses a much more subtle vibrato and refrains from sliding between notes.
Szigeti largely keeps to the score throughout the recording. Apart from a few moments such as him playing the original