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Jerry Dubins
Fanfare, November 2013

This CD turned out to be more than a pleasant surprise; it turned out to be a sheer delight. I wasn’t sure what to expect from two relatively young and relatively unknown…artists in Saint-Saëns’s frequently essayed Violin Sonata in D Minor, but the performance by Fanny Clamagirand and Vanya Cohen proved positively persuasive and more than competitive with some of the very best…

The most enchanting aspect of this album…is the short, salon-like pieces that fill out the disc to a generous 68 minutes.

This is a most enjoyable program, and it’s one performed to the highest standards by two exceptionally talented artists. Very strongly recommended. © 2013 Fanfare Read complete review



Brian Reinhart
MusicWeb International, July 2013

…Fanny Clamagirand is an excellent young violinist whose sweet tone, gentle vibrato, and gift for lyrical expression make her ideal for this romantic repertoire. Vanya Cohen’s accompaniments shine, too, and highlight the inventive ways that Saint-Saëns uses his main instrument. The intimate sound, featuring a beautifully-rendered violin, only seals the deal. © 2013 MusicWeb International Read complete review



Julian Haylock
The Strad, June 2013

Clamagirand’s gloriously rounded, gently cushioned sound and special sensitivity to [Saint-Saëns’s] rarefied sound world…proves…persuasive in the various miniature items. These include the ravishing Romance op.37 and Berceuse op.38, played here with captivating intimacy, the two élégies opp 143 and 160, the delightful Sarabande et rigaudon op.93, and the late Triptyque op.136. Complemented by exemplary engineering, this fine release should win this glorious music many new friends. © 2013 The Strad Read complete review



David Denton
David's Review Corner, April 2013

Having recorded the Saint-Saens violin concertos, Fanny Clamagirand continues with the first volume of his complete music for violin and piano.  While in the past fifty years we have seen the steamroller composers taking over the concert halls, the delights of Saint-Saens and his contemporaries have waned. Sadly it is the frothy confectionery part of his portfolio of works that have persisted in people’s memory, and, as part of this disc will prove, he was, of course, a master of salon music. Turn the proverbial coin over and we have the four movement classical structure of the 1885 First Violin Sonata that could well have come from the mature Mendelssohn, the powerful writing for the piano reflecting the composer’s career as a concert pianist. The role he gives to the violin is that of the lyrical partner, often singing above the proactive keyboard, the two entering into a dialogue through the highly effective second movement. The wispy scherzo is a perfect foil for the virtuoso moto perpetuo finale, Clamagirand’s nimble left hand seemingly at ease with the myriad of notes. The three salon pieces, with an emotionally charged Elegie as the centre-piece, are the precursors to music in the style of a past era in the Saraband and Rigaudon, a work originally scored for violin and orchestra. Finally we have the Triptyque dedicated to Queen Elisabeth of Belgium, though it was probably composed with an eye to its sale as sheet music to adventurous amateur musicians. Exemplary performances throughout, Clamagirand’s 1700 Matteo Goffriller violin a joy to hear, and when given such an outstanding producer and engineer, you are guaranteed a perfectly balanced recording. © David’s Review Corner






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5:51:45 AM, 1 August 2014
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