Delius Violin Sonatas (complete) - Naxos 8.572261

Sonata in B major (1892), Op. posth.
Sonata No. 1 (1905-15), Sonata No. 2 (1923), Sonata No. 3 (1930)

Susanne Stanzeleit - violin, Gusztáv Fenyő - piano

'Beneath the shimmering surface of Delius's little-known violin sonatas are the latent exuberance and nostalgic rapture which have made his orchestral music so popular. Across the decades separating the B major Violin Sonata of 1892 from the Third Violin Sonata of 1930, Delius developed a unique musical language which leavened the post-Romantic heritage of Wagner with French Impressionism and European and Afro-American folk idioms; an intoxicating mix that moved Sir Thomas Beecham to call him 'the last great apostle in our time of beauty and romance in music'.'

'These excellent, passionate performances enhance Delius's reputation as a composer of chamber music no end. In the three numbered violin sonatas, as in the early, posthumously published B major, the romantic ardour and aspiring gestures achieve an ideal equilibrium with Delius's more wistful moods.'
The Telegraph, 25th June 2009

'In Susanne Stanzeleit and Gusztáv Fenyö they have certainly found worthy interpreters: the subtlety of their rubato and the sheer responsive plasticity of Stanzeleit's phrasing of the long melodic lines, which can so often seem to meander but here are a moment-to-moment index of feeling, are exemplary.'
BBC Music Magazine, August 2009

'Susanne Stanzeleit engages powerfully and beautifuly with the music’s ongoing melodising…'
Classic FM Magazine, August 2009

Available direct from Music-Makers @ £5 (including postage & packing) - all proceeds in support of Music-Makers' activities.

Beethoven Violin Sonatas - Casmara CAS 3

Susanne Stanzeleit - violin, Gusztáv Fenyő - piano

The first ever CD recorded at Paxton House, a partner gallery of the National Galleries of Scotland, near Berwick-upon-Tweed.

'...a beautiful and illuminating performance [of the Kreutzer] upon which two finely-tuned players bestowed a rewarding unity of outlook... This was subtle, responsive duo playing of a very special sort.'
The Herald, Glasgow

Available direct from Music-Makers @ £5 (including postage & packing) - all proceeds in support of Music-Makers' activities.

Mozart Violin Sonatas

Sonatas in G (K379), E flat (K380), F (K377), E flat (K481)

Ildikó Line - violin, Gusztáv Fenyő – piano

The duo performed cycles of Mozart and Beethoven violin sonatas for Hungarian Radio in European Network broadcasts.

Available direct from Music-Makers @ £5 (including postage & packing) - all proceeds in support of Music-Makers' activities.

Bela Bartók: The Music for Violin and Piano

Susanne Stanzeleit - violin, Gusztáv Fenyő - piano

Volume 1 - ASV CD DCA 852                listen to audio clips
Rhapsody No. 1; Sonata No. 2;
Sonata for solo violin;
Roumanian Folk Dances

Recommended by Gramophone Good CD Guide
Recommended by Penguin Good CD Guide

'She is a musician of notable temperament and intelligence. Hitherto I have most admired Kennedy's and Mordkovich's recording of this very difficult work [solo sonata]. Stanzeleit achieves his logic and her feeling for melody almost effortlessly, but adds an emotional dimension that powerfully reinforces the association between Bartók's last completed composition and the solo sonatas of Bach that inspired it.'
Hi-Fi News

'...Fenyő's playing... has a quiet but firm presence, and even sounds rather like Bartók's own - rounded, spontaneous, secure and un-aggressive.'
Gramophone

Volume 2 - ASV CD DCA 883
Rhapsody No. 2;
Sonata No. 1;
Hungarian Folksongs

Nominated for Gramophone Award
Recommended in Gramophone Good CD Guide
Recommended in Penguin Good CD Guide
Five Star award - Classic CD

'Magnificent music, magnificent playing. What more could one wish for?'
The Strad

'A disc of remarkable quality.'
Classic CD

'...an exceptionally imaginative and mercifully tenderized account of the hard-headed First Violin Sonata... this performance somehow makes more sense [than Oistrach and Bauer or Kremer and Argerich] of the score's many dramatic contrasts.'
Gramophone

Volume 3 - ASV CD DCA 982                listen to audio clips
Sonata (1903); Contrasts; Andante;
Burlesque No. 2; Slovak Folksongs; For Children
with Michael Collins, clarinet

'Stanzeleit and Fenyő make a sensitive and often compelling case for Bartok's music here... strong performances with vivid characterisation.'
Classic CD

'...I happily recommend this CD as a final volume of a satisfying series.'
Gramophone

British Violin Sonatas                listen to audio clips

Volume 1 - Cala United 88031 CD / Re-issued 2007 - Portrait BOOOSROTJC
Sonatas by Dunhill, Stanford and Bantock

Susanne Stanzeleit - violin, Gusztáv Fenyő - piano

Recommended by Gramophone Good CD Guide

'Susanne Stanzeleit is a marvellously eloquent purveyor of all this material...'
Gramophone

Euan Moseley: Piano Topography, Volumes 1 & 2 – Claudio Contemporary CC5991-2 & CC5992-2
20 Topographs recorded when crossing the musical surfaces of a distant land

Gusztáv Fenyő – piano

‘I think this music is both inventive and communicative: a most satisfying combination!’
Vladimir Ashkenazy

‘This is something really original and very exciting!’
Kathryn Stott

‘Tremendous rhythmic energy, bite, pizzazz, wit, colour, humour... extraordinary!’
Murray McLachlan

‘What we have here is a monumental achievement - ...and they require all of the considerable skills of Gusztáv Fenyő (beautifully recorded) to do them full justice. ... Fenyő is consistently clear and rhythmically precise in his approach to this pianistic marathon.’
International Piano

Piano Topography was first performed on 24th October 2006 in the Sir Adrian Boult Hall, Birmingham and on 28th October in the Cadogan Hall, London.

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Gyula Csapó: Desert March – Open Space OS CD 7

Gusztáv Fenyő – piano

‘Dedicated to all victims of the 1991 Gulf War, Desert March (1991-1993) is alternative music as it uses “found objects” in the course of its crushing progress reminiscent of the advances and deformations of a mechanized military machine. During the time of those television broadcasts of this particular “Star Wars”, I had a dream: I saw John Cage, in blue jeans, in the Saudi Arabian desert in blinding sunlight and sand, among soldiers, both Americans and Iraqis mingled in their khaki fatigues, distributing all sorts of instruments: toy pianos, ocarinas, bamboo flutes, didgeridoos…proposing to them that they start making music instead…’
Gyula Csapó

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