Musikfest Berlin

Isabelle Faust violin

Kristian Bezuidenhout forte piano

Violino e Cembalo

Johann Sebastian Bach

Sonata for Violin and Harpsichord in C minor, BWV 1017

Isabelle Faust violin, Kristian Bezuidenhout forte piano

Johann Jacob Froberger

Suite for Cembalo in C major

Kristian Bezuidenhout forte piano

Johann Sebastian Bach

Sonata for Violin and Harpsichord in F minor, BWV 1018

Isabelle Faust violin, Kristian Bezuidenhout forte piano

Heinrich Ignaz Franz Biber

Passacaglia g-Moll für Violine solo

Isabelle Faust violin

Johann Sebastian Bach

Violinsonate Nr. 2 A-Dur BWV 1015

Isabelle Faust violin, Kristian Bezuidenhout forte piano

Johann Sebastian Bach

Violinsonate Nr. 3 E-Dur BWV 1016

Isabelle Faust violin, Kristian Bezuidenhout forte piano

Louis Couperin

Prélude in C major and Passacaille in C major from Pièces de Clavecin

Kristian Bezuidenhout forte piano

Johann Sebastian Bach

Violinsonate Nr. 1 h-Moll BWV 1014

Isabelle Faust violin, Kristian Bezuidenhout forte piano

Heinrich Ignaz Franz Biber

Sonata for Violin and Continuo in E minor

Isabelle Faust violin, Kristian Bezuidenhout forte piano

Johann Sebastian Bach

Sonata for Violin and Harpsichord in G minor, BWV 1019

Isabelle Faust violin, Kristian Bezuidenhout forte piano

A Berliner Festspiele/Musikfest Berlin Event

Dates and Tickets

sales information

Fri, 01 Sep 2017, 19:00

Chamber Music Hall | Introduction: 18:00

Online Sale

Promoter/Booking

Berliner Festspiele

Schaperstraße 24
10719 Berlin

Phone: +49 (30) 254 89 100

Fax: +49 (30) 254 89 230

Contact via email

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Programme

In the generation before Bach, they were the masters of their instruments: the harpsichordists Johann Jakob Froberger and Louis Couperin, and the violinist Heinrich Ignaz Franz Biber. Their imaginations and phenomenal technical skills were mutually inspiring. Froberger received his distinctive training in Italy, but gradually acquired French influences. His art of synthesis was an inspiration for Bach. Biber also modelled his legendary virtuosity on Italian standards, but far exceeded them. His Passacaglia in G minor, composed as an epilogue to the Mystery Sonatas, is the masterpiece of this type of composition prior to Bach’s famous Chaconne in D minor. According to their compositional structure, Bach’s six sonatas are trio sonatas. The violin and the right hand of the harpsichordist concertize as upper voices, which are often interwoven or set in counterpoint against each other. The different keys represent the fundamentally disparate characters of the sonatas. The compilation of six works as a volume corresponded to a publication practice that was maintained for a long time. In Bach’s case, it also meant that a small compendium of the expressive possibilities, art of playing and the compositional diversity of the genre was passed on to contemporaries and recorded for posterity.

(photo: Emma McNally)