Isabelle Faust貝多芬小提琴奏鳴曲全集4CDs＋DVD

4張賣2張價，在這波Harmonia Mundi新片中，這套錄音應該是最具有市場賣相的，所以，放在最後寫。

最大賣點當然是被本地格友稱為「一個有自己聲音和靈魂的小提琴家」Isabelle Faust，曲目通俗，再加上售價划算，在在增加了銷售上的優勢。

再來看看香港樂評怎麼寫的：

大師風範

有人說CD工業無以為繼，那邊廂，名曲繼續有簇新錄音湧現。Isabelle Faust因母親病重，原已踏足香港也要折返，與本港樂迷緣慳一面；聽過這套CD（4碟賣3碟價）你便知道我們的「損失」有多大。

其實Faust兩年前一張CD已錄了《克萊采》， 今次是重錄（因此免費？）。送的一張碟是Dual Disc，一面是CD另一面是「訪問」DVD，Faust提到有參照原著的手稿。Mutter都話有睇過貝多芬的手稿，但兩位德國女士拉出來的奏鳴曲居然南轅北轍，Mutter著重對比，音色和音量上乃至速度上的，聽來未免太刻意了。

年輕得多的Faust根本不需要做什麼point-making，說服力自自然然便出來。Melnikov我一向睇好，今次跟Faust是十分好的室樂夥伴，既不搶也不讓，交流無間，音樂處理滿有呼吸的空間，有豐富而密緻的音色變化，發音輕盈爽脆帶點「古樂風」，Faust揉音用得節制，有時甚至不用，到激情樂段的細密揉音遂顯得很富感情力量。 （以上摘自香港《明報》週刊第2133期）

香港賣得比台灣貴，讓人有撿到便宜的感覺，好像又為這套CD增加了好幾分。而已經買過單張的樂友也不用懊惱，因為她特地重灌了一次，而且還附上了拍攝自錄音過程的DVD，

接下來，看到英國《泰晤士》報 5顆星的最高評價，讓人有立刻想跑出去買的衝動了！

★★★★★

Beethoven’s chamber music has, so far, benefited less from the scrutiny of period-instrument players and “historically informed” performance practice that have revolutionised interpretations of his symphonies.

Faust and Melnikov use modern instruments for their integral recording of the 10 sonatas for piano and violin, their approach clearly influenced by recent scholarship. There is nothing “academic” and dusty about their exhilarating playing of these much-recorded works, however. Indeed, they blow off the cobwebs of tradition, while using the potential of their instruments — she plays the modernised “Sleeping Beauty” Strad of 1704 — to the utmost.

Faust and Melnikov make this music live and breathe more thrillingly than in any recent recording I can recall. What marks them out is the wit and dazzle they bring to the fast movements — in the two sets of three, Op 12 and Op 30; the A minor, Op 23; and the F major, the so-called “Spring” sonata, written between 1797 and 1802, when Beethoven’s teacher, Haydn, was still active.

The sizzlingly Haydnesque Allegro vivace of Op 30, No 3 shows Beethoven trying to outdo the high-jinks humour of his early mentor. Both players pass the technical test of the concerto-like Kreutzer Sonata with flying colours (a great performance, crowning a superb set), and the late G major, Op 96, one of Beethoven’s most enigmatic mid-period masterpieces, has rarely sounded more wistful and elegiac. （以上摘自September 6, 2009，The Sunday Times）