|Julia Fischer, violin
Yulianna Avdeeva, piano
|Johann Sebastian Bach
|Sonata in E major BWV 1016
Sonata No.1 in F minor Op. 80
Scherzo for violin and piano in C minor WoO posth. 2
Sonata No. 3 in D minor Op. 108
|‘Julia Fischer’s playing takes your breath away, she is not only a talented artist, but also a phenomenal violinist, offering the audience musical ecstasy; only a limited number of contemporary performers can compete her’, by these words this lady of concert stages with Slovak roots is appraised. The most prestigious world stages belong to her.
Bach’s Sonatas for violin and basso continuo belong to the golden fund of chamber music. In them he implied a new type of partnership between the solo, discant instrument and continuo section. The keyboard instrument became a more active element and it presented also thematic material allusively. During the 19th century the sonatas for violin and piano established themselves as a representative form – either as predominantly virtuoso works (as Johannes Brahms perceived them in Scherzo, and later also Prokofiev), or as works inclining to a kind of chamber symphonism, as is the case of Brahms’s three Sonatas. The last of them is a work of a matured composer, viewing the sonata principle from the viewpoint of a wise man.