Moser & Steude

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In Beethoven’s bicentenary year of 2020, it is fitting to honour the legacy of this gruff genius with the sound of piano and violin together. Among his ten violin sonatas, the “Spring” sonata stands out because of the length of time Beethoven seems to have spent on fine-tuning the piece, which took a good five years to complete. It was rightly praised by the critics. The Allgemeine Musikalische Zeitung reported at the time: “The original, fiery and daring mind of this composer who, even in his early works, could not be overlooked by a keen observer, yet very likely did not enjoy the friendliest reception in every quarter, and that by virtue of his unfriendly, wild, sombre and sullen manner, is now becoming clearer and clearer, and shows an increasing tendency to disdain all excess, without, however, losing any of his character, and emerges ever more pleasingly.…”. But what should we make of the radiant power and wide tonal spectrum of Debussy’s violin sonata, written when he was terminally ill? Or the Sonatina by Pauline Viardot, to whom Camille Saint-Saëns dedicated his opera “Samson and Delilah”? Ludwig van Beethoven: Violin Sonata no. 5 in F major, Op. 24, the “Spring Sonata” Claude Debussy: Violin Sonata in G minor Pauline Viardot: Violin Sonatina in A minor Camille Saint-Saëns: Violin Sonata no. 1 in D minor, Op. 75 Tickets: Band A €38/ B €33/ C €28; box seats €48; Children and young people: A €20 / B €15 / C €9

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