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piano-small.jpg Blue Griffin Recording is an independent recording label and full service recording company. We are located in Lansing, Michigan.
Recording engineer and producer Sergei Kvitko has completed degrees in music from Russia and the US, including Doctorate in Piano Performance from Michigan State University. (Read more...)
BGR uses the highest quality equipment to achieve the superb sound that has been praised by Gramophone ("vividly detailed, vibrant sonics"), and American Record Guide ("The recording is close to ideal, rich but clear, truthful, and immediate") among others. (Read more reviews...)
Blue Griffin is a unique label as it follows creation of the CD from beginning to end, from setting up the microphones, recording, editing and mastering, graphic design and printing, to distribution, advertising and sales. (View full Catalog...)
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Since 2006-07 season Blue Griffin and First Presbyterian Church of Lansing sponsor the "FINE ARTS SERIES" . ( Read more about the series ...)

 

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Amercian Record Guide Reviews "Mozart: Violin Sonatas"

MOZART: Violin Sonatas, K 301, 304,376, 454
Aaron Berofsky; Thomas Sauer, p
Blue Griffin 143—70 minutes

Mozart is rather unforgiving in these sonatas. He demands pristine control over every phrase, articulation, and musical gesture. Making an honest recording of these pieces is like sitting for a series of very high-resolution close-ups under brilliant light without wearing any make up (or even clothes). And when the music is played as well as it is possible to play it, the result sounds simple, graceful, and untroubled, leaving the non-violinist listener with the impression that this music is easy. It is not.
Like the rest of Mozart’s piano and violin music, these are pieces where the violin acts as the accompanist to the pianist, and while Berofsky is an excellent accompanist to Sauer, he still has to contend with the fact that Alberti bass figures that involve string crossings will never sound as accompanimental when played on the violin as they do on the piano, particularly when using modern instruments. The recording is engineered to allow the equal presence of the violin and the piano, making an honest representation of the score, but sometimes the equal presence of melody and accompaniment makes me feel a bit nervous while I hang on every carefully-placed accompanimental violin note that ould, under performing circumstances, fade into the background. But there are times when I really appreciate the recording equality, as in K304, the two-movement E-minor Sonata. I particularly enjoy this reading, especially the short piano cadenza in II and the exchange that follows it.
Berofsky and Sauer play with exquisite taste and pay close attention to bringing out the form and personality of each sonata. There is a lot to be learned from these readings. Everything this duo does is musically motivated, and every exchange of phrase is like an exchange of dialog. There are no theatrics, no overt stylistic attempts to approximate authenticity, and the main musical personality on this recording is Mozart’s. FINE Amercian Record Guide March/April 2008

Mozart: Violin Sonatas Mozart: Violin Sonatas $14.99 Add to Cart