Isabelle Faust © Felix Broede
Faust / von der Goltz / Kenny / Bezuidenhout
Tuesday
10
May
2022
19:30
Mozart-Saal
Performers
Isabelle Faust, Violine
Kristin von der Goltz, Violoncello
Elizabeth Kenny, Laute
Kristian Bezuidenhout, Cembalo
Programme
Johann Sebastian Bach
Sonate Nr. 2 A-Dur BWV 1015 für Violine und Cembalo (1717–1723)
Johann Paul Westhoff
Sonate Nr. 4 d-moll für Violine und Basso continuo
Heinrich Ignaz Franz Biber
Sonata V e-moll (Sonatae Violino solo) (1681))
Johann Paul Westhoff
Sonate Nr. 3 d-moll für Violine und Basso continuo
***
Johann Sebastian Bach
Sonate G-Dur BWV 1021 für Violine und Basso continuo (1720 vor)
Sonate Nr. 3 E-Dur BWV 1016 für Violine und Cembalo (1717–1723)
Johann Paul Westhoff
Sonate Nr. 2 a-moll für Violine und Basso continuo
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Zugabe:
Johann Sebastian Bach
Sonate e-moll BWV 1023 für Violine und Basso continuo (3. Satz: Allemande) (1714–1717)
Note
Medienpartner Ö1 Club
Subscription series
Originalklang
Links
http://kristianbezuidenhout.com
https://elizabethkenny.co.uk
Presented by
Wiener Konzerthausgesellschaft
Baroque Heyday
Isabelle Faust, Kristin von der Goltz, Elizabeth Kenny and Kristian Bezuidenhout are four excellent musicians. All of them are among the world's best in their field and perform as soloists with the most renowned ensembles and conductors. Together they dedicate themselves to works by Heinrich Ignaz Franz Biber, Georg Muffat and Johann Paul von Westhoff, who were of decisive importance for the development of violin music in the 17th century, and juxtapose them with two virtuoso violin sonatas by Johann Sebastian Bach. »In Bach's sonatas for violin and harpsichord, it seems to me, there is a fragrant melancholy in the melodies inspired by the gestural world of late 17th century French music« says Kristian Bezuidenhout, who is keen to make connections between the work of each composer. »Showing Bach's works alongside those of his stylistic predecessors does not sully his music at all, it rather shows the extent to which Bach took the intersection of styles to a new level. If you play Biber before Bach, Bach sounds different because you have a tonal context for the music. The Bach we see then is not just a 'German' composer, but a true cosmopolitan; not a conservative, but one who consciously breaks rules; not an isolated genius, but a composer who was very aware of the importance of his own work.« The four original sound specialists present a genealogy of this baroque heyday.