12th IMF KH programme – 10th concert
Sunday / June 9 / 3 p.m. / Church of the Annunciation of the Virgin Mary in Bohdaneč
Johann Sebastian Bach: Suite No. 3 in C major BWV 1009 for Solo Cello
Johann Sebastian Bach: Sonata No. 1 in G minor, BWV 1001 for Solo Violin
Maurice Ravel: Sonata for Violin and Cello
- Scherzo. Très vif
- Finale. Vif, avec entrain.
Roman Patočka – violin, Jiří Bárta – cello
The impact of monophony combined with the effect of two-voice texture. Johann Sebastian Bach was a true master of the art of sparking off in a single melodic line a fireworks of imaginary dialogues and counterpoints, embuing each of these lines with an abundance of latent harmonies. His Six Suites for Cello Solo ranks among the cornerstones of European music. At one point or another, every cello player is bound to feel an irresistible temptation to test their skills on this particular work. No wonder then that in his turn, Jiří Bárta, too, marked his early encounter with it in a youthful recording, shortly before stepping into what was no longer the same river of his life and artistic career.In view of what was said above, violinists needn´t have regrets about being short-shrifted: to them, the giant of Baroque music bequeathed a collection of six sonatas and partitas, in exactly the same class as his works for cello. In their music the rhythms and forms of Baroque music are brought to life by movements filled with virtuosity and lyric emotion. Bach´s solo suites, sonatas and partitas, doing without the continuo part that was then otherwise standard, marked in their time a revolutionary turning point. Even though Bach probably originally intended them as educational music, they have risen to the status of highlights in the repertoires of the greatest soloists.
The Sonata for Violin and Cello inaugurated the final creative period of the French composer Maurice Ravel. It is also one of his most modernistic works. Both of its solo parts evolve with the utmost boldness and freedom, at times each in its own key. Notwithstanding this, the composer stays ever in control, safely toning down the starkness of the vertical sonorities by sensitive melodics and refinement of playing effects.
Dita Hradecká / translation: Ivan Vomáčka