The Classical Events logo, in black-and-white
Please note: This concert is in the past and has already taken place.

Violin Recital

Add to my Calendar 11-06-2022 19:00 11-06-2022 21:00 36 Violin Recital GEORG PHILIPP TELEMANN (1681-1767) Violin Fantasia No. 12 in A minor, TWV 40:25: Moderato, Vivace, Presto. G. P. Telemann, a composer who linked the late baroque and early classical era, composed, among others, the twelve fantasias for unaccompanied violin, a magnificent set of pieces for solo violin, evident for their gallant and homophonic style. The word ‘fantasia’ comes from the Greek word ‘φαντασία’, which is related to the freedom of the musical form. In fantasia number twelve, the rhythmic alteration stands out, as in many places, the mood changes with the rhythm to alter from dotted patterns to triples, as well as the equally noticeable dance-like ending, with folk influence, plenty of double stops and embellishments. JOHANN SEBASTIAN BACH (1685-1750) Violin Partita No. 2 in D minor, BWV 1004: Allemande, Courante, Sarabande, Gigue, Chaconne. Bach knew the violin repertory well, and - amongst others like Heinrich Ignaz Franz von Biber - in writing such works, was claiming a place in a solid tradition. The D minor Partita begins by presenting the classic or most nearly standard group of dances, an Allemande, a Courante, a Sarabande and a Gigue. Then, however, Bach gives something in addition that turns out - indeed - to equal in length the rest of the partita put together and far to outdo it in magnificence and weight of utterance. This is the famous Chaconne, a set of variations on an eight-bar chord sequence. The whole piece is extraordinary conjunction of architectural majesty with a fanciful bravura display of the instrument. It is thought that Bach wrote the Chaconne as a response to the death of his first wife, a sombre expression of the grief he experienced. To most ears, the music reveals love, anguish, death and fear and is rich, clearly, in emotion, with denial, anger, bargaining, depression and acceptance. NICCOLO PAGANINI (1782-1840) Caprice for Solo Violin Op. 1 No. 23 in E-flat Major: Posato, Minore. One of the first musical superstars - Niccolo Paganini, the utter sensation whose novel sound, bizarre appearance, eccentric lifestyle, riveting stage presence, mammoth mass appeal and monster showmanship - affected the music performance tradition by composing the twenty - four caprices for solo violin, known to the public for their difficult and virtuosic style. The caprice number twenty - three consists of two contrasting sections, a lyrical and playful Posato and a dynamic Minore. St Olave's Church, York DD/MM/YYYY

Details

St Olave's Church
Marygate
Marygate
York
YO30 7BZ
England

Programme

Georg Philipp Telemann – 12 Fantasias for Violin without Bass, TWV 40:14-25
Niccolo Paganini – Caprice in E flat major, Op.1 no.23
Johann Sebastian Bach – Partita no.2 in D minor for solo violin, BWV 1004

Performers

Dimitra Ananiadou – violin

Programme Note

GEORG PHILIPP TELEMANN (1681-1767) Violin Fantasia No. 12 in A minor, TWV 40:25: Moderato, Vivace, Presto. G. P. Telemann, a composer who linked the late baroque and early classical era, composed, among others, the twelve fantasias for unaccompanied violin, a magnificent set of pieces for solo violin, evident for their gallant and homophonic style. The word ‘fantasia’ comes from the Greek word ‘φαντασία’, which is related to the freedom of the musical form. In fantasia number twelve, the rhythmic alteration stands out, as in many places, the mood changes with the rhythm to alter from dotted patterns to triples, as well as the equally noticeable dance-like ending, with folk influence, plenty of double stops and embellishments.

JOHANN SEBASTIAN BACH (1685-1750) Violin Partita No. 2 in D minor, BWV 1004: Allemande, Courante, Sarabande, Gigue, Chaconne. Bach knew the violin repertory well, and - amongst others like Heinrich Ignaz Franz von Biber - in writing such works, was claiming a place in a solid tradition. The D minor Partita begins by presenting the classic or most nearly standard group of dances, an Allemande, a Courante, a Sarabande and a Gigue. Then, however, Bach gives something in addition that turns out - indeed - to equal in length the rest of the partita put together and far to outdo it in magnificence and weight of utterance. This is the famous Chaconne, a set of variations on an eight-bar chord sequence. The whole piece is extraordinary conjunction of architectural majesty with a fanciful bravura display of the instrument. It is thought that Bach wrote the Chaconne as a response to the death of his first wife, a sombre expression of the grief he experienced. To most ears, the music reveals love, anguish, death and fear and is rich, clearly, in emotion, with denial, anger, bargaining, depression and acceptance.

NICCOLO PAGANINI (1782-1840) Caprice for Solo Violin Op. 1 No. 23 in E-flat Major: Posato, Minore. One of the first musical superstars - Niccolo Paganini, the utter sensation whose novel sound, bizarre appearance, eccentric lifestyle, riveting stage presence, mammoth mass appeal and monster showmanship - affected the music performance tradition by composing the twenty - four caprices for solo violin, known to the public for their difficult and virtuosic style. The caprice number twenty - three consists of two contrasting sections, a lyrical and playful Posato and a dynamic Minore.

Bach Chaconne, Paganini Caprice

Get a route map

Your Map

If you have any questions, please contact us using the form below, or send an e-mail to [email protected].

All form fields are required.

Please check your details and try again.

Thank you for contacting us. We will contact you regarding your enquiry as soon as possible.