Johann Sebastian Bach (1685-1750)
Piano Concerto No. 7 in G Minor, BWV 1058
Inon Barnatan, piano; Jennifer Gilbert & Harvey de Souza, violins; Hsin-Yun Huang, viola; Joseph Johnson, cello; Marji Danilow, bass
Pianist Inon Barnatan talks about Bach’s keyboard concerti.
Inon says that Bach helped to advance the overall concerto form by giving the main instrument more of a leading role.
The eight keyboard concerti that Bach composed in the 1730′s for the Leipzig Collegium Musicum don’t provide a lot of direction or annotation. As Marc Neikrug explains, to this day, Bach’s music remains wide open to interpretation.
Béla Bartók (1881 – 1945)
Violin Sonata No. 1 in C-sharp Minor, Sz. 75 (1921)
Jennifer Frautschi, violin; Jon Kimura Parker, piano
Bartók pushes both instruments to extremes in the Violin Sonata No. 1 in C-Sharp Minor. Kerry and Marc discuss this huge piece and how Marc brought violinist Jennifer Frautschi and pianist Jon Kimura Parker together for this Santa Fe performance.
Marc tells Kerry about Bartók’s seemingly contradictory use of precise annotation as a means to direct musicians to play his music more freely.
Although Béla Bartók scrupulously annotated his scores with performance instructions, Marc Neikrug says that if you observe Bartok playing, “it is the most liberal, free and personal exploitation of time and rhythm that you can imagine.”
Bela Bartok and Joseph Szigeti play Beethoven Kreutzer Sonata (2/3)
Joseph Szigeti & Bela Bartok play Bartok Vn Sonata No.2 1mov, Live
Bartok violin sonata n°1 mvt 2 Oistrakh Richter