Wednesday 25th June

Probably dating from 1720 or so, BWV 1014 to 1019 are a collection of sonatas for violin and harpsichord by JS Bach originally scored in trio form where a bass part underpins upper parts in the violin and harpsichord. The bass line can also be in the harpsichord, but Bach allowed for other instruments here, including a viola da gamba. With modern instruments, transcribing this structure to violin and piano is common practice. A piano edition was published in 1841 as “Six grandes sonates pour piano et violon obligé,” (after some earlier transcriptions with significant errors) so the instrumentation we hear tonight has been available for a long time. Of course, there have been other editions and arrangements since then too.

The C minor sonata starts with a relatively sombre Largo with an affecting and rhythmic melody in the violin and a keyboard continuo. The Allegro is a complex fugue with the first musical subject being stated in the keyboard, migrating to the other upper line in violin and finally in the bass. Here it acquires a countersubject making very rich subject matter to develop the fugal structure. The Adagio is based on equally complex material, but more so by rhythm than melody, finally resolving to an introspective coda. The concluding Allegro movement is also fugal and has a dance-like feel. The work closes with an emphatic statement of the two main themes developed in this movement.

Note that Kende and De Maeyer are omitting the first Allegro from tonight’s performance.

Ludwig van Beethoven’s three Op. 30 sonatas were composed between 1801 and 1802. These sonatas and sandwiched between the Spring sonata of 1801 and the Kreutzer Sonata of 1803. The middle, C minor sonata of Op. 30 was dedicated to Tsar Alexander I of Russia. Beethoven treats the piano as the lead instrument with the violin providing a lyrical accompaniment. The piano opens each of the movements of this sonata with variously lyrical and intense themes setting the expectation for each. As might be inferred from the different styles of the sonatas bracketing Op. 30, this sonata is very much a transition point, a clear statement of how Beethoven’s emotive, heroic middle period of musical turbulence and unexpected contrasts was going to sound.

Brahms’ last violin sonata in D minor dates from 1888 and was dedicated to the composer, pianist, conductor and friend, Hans von Bülow. The opening Allegro has a quiet, lyrical beginning in the violin that rapidly changes to a much more emphatic theme and a romantic second subject. The Adagio second movement shows off the romantic, lyrical and tender playing of the violin. It is the turn of the piano to take the lead in the third movement with, at least initially, the violin providing a simple accompaniment. However, the passion and virtuosity of both parts is saved for the final movement with the interplay between the musicians leading to a thundering conclusion.

The violinist Fritz Kreisler was a remarkably prolific composer, though it is difficult to know exactly how prolific because of many attribution errors (not all accidental!) and a tendency to reuse and paraphrase material. In respect of Liebesfreud (Love’s Joy) and Liebesleid (Love’s Sorrow), these are actually the first two parts of a single work called Alt-Wiener Tanzweisen (Old Viennese Dances). The third part is called Schön Rosmarin (Beautiful Rosemary). This work dates from 1905, though it is only claimed by Kreisler in 1910, before that it was attributed, apparently intentionally, to Joseph Lanner.