Sonata for piano and violin No. 4 in A minor
Sonata for piano and violin No. 10 in G major
Sonata for violin and piano in G major
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Already in 1803 Ferdinand Ries bemoaned that one “does not often hear” the Violin Sonata in A minor op. 23 by his piano teacher Ludwig van Beethoven. Beethoven had published the work in October 1801 together with a composition in F major written for the same instrumental combination. When, one year later, the two sonatas were published in individual editions, the one in F major captured the hearts of violinists and audience under the byname Spring Sonata (not attributed to Beethoven). The A minor sonata, on the other hand, drew the shorter straw: until the present day it is overshadowed by its companion work and is performed much more rarely. Wrongfully so, thinks Daishin Kashimoto, 1st Concertmaster of the Berliner Philharmoniker since 2009 – and he is placing it at the beginning of his concert programme, which continues with Beethoven’s last contribution to the violin sonata genre from 1812, a composition which the violinist Carl Flesch once designated Beethoven’s “most perfect work”. The second half of the concert is marked by Dmitri Shostakovich’s Violin Sonata op. 134, premiered by its dedicatees Igor Oistrach und Sviatoslav Richter in 1969. This work has been called “markedly intellectual and ascetic, not least due to Shostakovich’s grappling with the twelve-tone technique. But there are also other sides to be discovered. Daishin Kashimoto’s partner at the piano in this programme, just as demanding for the interpreters and the listeners, is the Russian pianist Konstantin Lifschitz.