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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.

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