Soloists of the Kronberg Academy
Soloists of the Kronberg Academy are also performing February 22 (3 PM and 7:30 PM) and February 23.
Performers
Marc Bouchkov, Violin
Jonathan Roozeman, Cello
Jean-Sélim Abdelmoula, Piano
Program
MARC BOUCHKOV Fantaisie for Solo Violin
BACH Chaconne in D Minor from Violin Partita No. 2, BWV 1004
CHAUSSON Poème for Violin and Piano, Op. 25
BOCCHERINI Cello Sonata in A Major, G. 4
BRAHMS Cello Sonata No. 2 in F Major, Op. 99
Event Duration
The printed program will last approximately two hours, including one 20-minute intermission.At a Glance
MARC BOUCHKOV Fantaisie for Solo Violin
Marc Bouchkov traces his artistic ancestry back to the great Belgian virtuoso Eugène Ysaÿe, who blazed a new path in violin technique at the end of the 19th century. Based on a Ukrainian folk song, Bouchkov’s bravura Fantaisie pays homage to Ysaÿe’s solo sonatas even as it alludes to the Ukrainian revolution of 2014.
BACH Chaconne in D Minor from Violin Partita No. 2, BWV 1004
The majestic variations-style finale of Bach’s great D-Minor Partita for Solo Violin has long been regarded as a pinnacle of the violin repertoire. The Chaconne also provided a model for composers like Brahms—himself a master of variation and counterpoint—and helped inspire Ysaÿe’s sonatas for unaccompanied violin.
CHAUSSON Poème for Violin and Piano, Op. 25
Chausson’s moodily rhapsodic masterpiece has been an audience favorite ever since its premiere in 1896. Composed in response to Ysaÿe’s request for a concerto, the Poème was originally scored for violin and orchestra, but Chausson later arranged it for violin and piano, both with and without string quartet accompaniment.
BOCCHERINI Cello Sonata in A Major, G. 4
Boccherini was lionized throughout 18th-century Europe as both cellist and composer. The Sonata in A Major illustrates the easygoing charm that led one of his contemporaries to quip, “If God wanted to talk to men, he would use the music of Haydn; and if he wanted to listen to music, he would have that of Boccherini performed.”
BRAHMS Cello Sonata No. 2 in F Major, Op. 99
The “autumnal” quality often ascribed to Brahms’s music owes much to his partiality—especially in his later years—for the alto voice and the burnished timbres of the viola and clarinet, yet he was drawn to the distinctive sound of the cello as well. He demonstrated his affinity for the instrument in two sonatas, of which Op. 99 is the more outgoing and exuberant.