PROGRAMS
Sounds of Southern Nights and Northern Lights
Musical Narratives from Two Worlds
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Elena Kats-Chernin – Blue Silence (for violin and piano)
Duration: approximately 5 minutesJohn Field – Nocturne No. 5 in B-flat Major (arranged for violin and piano)
Duration: approximately 6 minutesRobert Schumann – Märchenbilder, selection
Duration: approximately 12 minutesJohann Sebastian Bach – Siciliana (from Sonata BWV 1031, arranged for violin and piano)
Duration: approximately 4 minutes*Interval
Arvo Pärt – Fratres
Duration: approximately 6 minutesEinojuhani Rautavaara – Notturno
Duration: approximately 7 minutesMax Richter – On the Nature of Daylight
Duration: approximately 6 minutesFrédéric Chopin – Nocturne Op. 27 No. 2 (arranged for violin and piano by Pablo de Sarasate)
Duration: approximately 6 minutes -
Sounds of Southern Nights and Northern Lights brings together works from different centuries, traditions and musical languages, connected not by period or style, but by a shared sensitivity to atmosphere, colour and emotional expression. Rather than following a historical narrative, the programme traces an imaginative and emotional one, inviting listeners into a sequence of distinctive musical worlds.
The programme spans a remarkable geographical and cultural range, from the Irish lyricism of John Field and the German Romantic imagination of Robert Schumann to the Estonian sound world of Arvo Pärt, the Nordic landscapes of Einojuhani Rautavaara, and the contemporary voice of Elena Kats-Chernin, born in Tashkent and later established in Australia. Together, these composers create a journey that moves beyond borders and periods while revealing unexpected connections between different musical traditions.
The title evokes two contrasting yet complementary worlds. The southern night suggests warmth, lyricism and storytelling; the northern light suggests spaciousness, stillness and wonder. These are not geographical destinations, but artistic landscapes. Across different centuries and musical languages, the works explore the interplay of intimacy and distance, movement and stillness, shadow and light. Together, they form a journey from human connection and imagination toward broader spaces of reflection and clarity, revealing how very different musical voices can arrive at remarkably similar emotional truths.
For Hayley Bullock and Angela Schmidt, this programme is not simply a collection of beautiful works. It is an invitation to listen differently: to experience music not only as narrative or expression, but as atmosphere, perspective and place. In an increasingly noisy and accelerated world, these works offer something increasingly rare: space for reflection, wonder and genuine listening.
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Elena Kats-Chernin – Blue Silence
Born in Tashkent and later establishing her career in Australia, Elena Kats-Chernin has developed a musical language that combines lyricism, clarity and an unmistakable sense of atmosphere.
Blue Silence opens the programme with a world of stillness and suspended motion. The violin and piano unfold a delicate musical dialogue, creating a soundscape that is both intimate and expansive. Rather than dramatic gesture, the work draws its power from subtle colour, space and quiet reflection.
John Field – Nocturne No. 5 in B-flat Major
(arranged for violin and piano)
The Irish composer John Field is widely regarded as the inventor of the nocturne, a genre that would later reach its most famous expression in the works of Chopin.
His Fifth Nocturne unfolds with effortless lyricism and understated elegance. Long melodic lines and gentle harmonic movement create an atmosphere of longing and introspection, inviting the listener into a world where time appears to slow and emotion is expressed with remarkable simplicity.
Robert Schumann – Märchenbilder (selection)
One of the central figures of German Romanticism, Robert Schumann was fascinated by literature, imagination and the blurred boundary between reality and fantasy.
Märchenbilder (“Fairy-Tale Pictures”) draws listeners into a world of shifting moods and imagined narratives. The music moves between playfulness, mystery and introspection, creating a series of musical scenes that feel both deeply personal and universally familiar.
Johann Sebastian Bach – Siciliana
(from Sonata BWV 1031, arranged for violin and piano)
The Siciliana is one of Bach's most beloved melodies. Rooted in a gentle dance form traditionally associated with pastoral simplicity, the piece offers a moment of balance and clarity within the programme.
Its flowing rhythm and graceful lyricism create a sense of calm that feels timeless, bridging centuries while speaking directly to modern listeners.
Arvo Pärt – Fratres
The Estonian composer Arvo Pärt became one of the most influential musical voices of the late twentieth century through a style built on simplicity, resonance and spiritual concentration.
Fratres unfolds through recurring patterns and subtle variation. Time seems suspended as the music gradually reveals its emotional depth, inviting attentive listening and creating a space in which silence becomes an active musical presence.
Einojuhani Rautavaara – Notturno
One of Finland's most celebrated composers, Rautavaara often drew inspiration from nature, mysticism and the vast landscapes of the Nordic world.
Notturno inhabits a world of shadow, stillness and quiet intensity. Its floating textures and luminous harmonies create a dreamlike atmosphere in which the boundaries between memory, imagination and reality become increasingly blurred.
Max Richter – On the Nature of Daylight
German-born and educated in Britain, Max Richter occupies a unique position between contemporary classical music, minimalism and film music.
On the Nature of Daylight has become one of the defining works of contemporary classical repertoire. Built from slowly unfolding harmonies and deeply expressive melodic writing, it explores the coexistence of sorrow and hope with extraordinary directness and emotional honesty.
Frédéric Chopin – Nocturne Op. 27 No. 2
(arranged for violin and piano by Pablo de Sarasate)
Born in Poland and later settled in Paris, Chopin transformed the nocturne into one of the most personal and expressive forms of Romantic music.
The Nocturne Op. 27 No. 2 closes the programme with luminous lyricism and refined elegance. Its long melodic lines, subtle harmonic colours and intimate character provide a fitting conclusion to a journey shaped by reflection, imagination and light.
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Approximately 67 minutes (including interval)
Part One: approximately 27 minutes
Part Two: approximately 25 minutes
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Hayley Bullock | Violin
From Baroque to Folk
A Journey in Duet: From Courtly Dialogue to Living Traditions
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Carl Philipp Emanuel Bach – Duet in e minor
Duration: ~10 minGeorg Philipp Telemann – Duo Sonata in E minor, TWV 40:130
Duration: ~9–10 minWolfgang Amadeus Mozart – Duo in G Major, Op. 70 No. 1
arr. for flute and violin
Duration: ~12–14 minBéla Bartók – Four Duos for Flute and Violin
arranged from the original duos
Duration: ~6–7 minRoss Edwards – Ecstatic Dances
Duration: ~15–17 minIrish Traditional Songs
selection curated by Hayley Bullock
Duration: ~10 minPantcho Vladigerov – Sitno Horo, Op. 23 No. 3
arr. for flute and violin
Duration: ~4–5 minMilko Kolarov – Scherzo
arr. for flute and violin
Duration: ~4–5 minThe Irish Washerwoman – Traditional Irish Reel
Duration: ~2–3 minEncore, optional: Waltzing Matilda – Australian Folk Tune
Duration: ~2–3 min -
From Baroque to Folk is a vivid musical journey for violin and flute, tracing how two melodic instruments can speak, dance, argue, imitate, remember and celebrate across more than three centuries of music.
At the heart of the program is the idea of dialogue — not only between violin and flute, but between styles, cultures, traditions and personal histories.
In the Baroque and Classical works by C. P. E. Bach, Telemann and Mozart, the violin and flute meet as elegant conversational partners: refined, balanced and full of wit. Each phrase is passed, answered and transformed, as if two voices were exchanging thoughts in real time.
The journey then moves into the 20th century, where dialogue becomes more physical, more rhythmic and more rooted in the body. Bartók brings the world of Central and Eastern European folk traditions into sharp miniature form, while Ross Edwards opens an entirely different landscape: luminous, ritualistic and connected to the natural world of Australia.
The final part of the program turns toward living folk traditions. Irish melodies curated by Hayley Bullock bring a personal family thread into the concert, while Bulgarian works and dances reflect the cultural roots of flutist Dimitre Marinkev. These pieces are not presented as exotic color, but as living memory: music shaped by community, movement, ancestry and shared celebration.
A special strength of this program lies in the artistic partnership, a rare artistic dialogue between two musicians who come from different worlds and yet seem to think with one musical mind. Hayley Bullock and Dimitre Marinkev bring very different backgrounds, instincts, and emotional languages into their collaboration. What makes their partnership so compelling is its flexibility: the ability to respond instantly, to risk, to listen, and to shape the music together in the moment.
Their playing is built on freedom of expression and deep trust. They do not seek to remain within fixed categories, but to break borders between styles, traditions, and expectations. In their hands, the duo becomes a space of spontaneous conversation — intense, personal, and alive.
This spirit of openness makes the collaboration especially inspiring. Each performance becomes more than an interpretation of written works; it becomes an encounter between two artists willing to move beyond familiar limits and discover something new together.
The result is a program that begins in the salon and ends in the dance. It moves from European elegance to rhythmic pulse, from composed form to living tradition, from historical style to personal identity. Across the entire evening, the violin and flute remain in conversation — two voices, two breaths, two lines of sound, constantly discovering new ways to meet.
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Carl Philipp Emanuel Bach – Duet in e minor
C. P. E. Bach stands at one of the most fascinating turning points in music history: between the architecture of the Baroque and the emotional immediacy of the Classical era. His music often surprises with sudden shifts of mood, expressive intensity and almost theatrical turns of phrase.
In this duet, flute and violin are not simply melody and accompaniment. They are two equal voices in an intimate musical exchange. The work opens the program with a sense of refined conversation, but also with emotional restlessness — a reminder that elegance and intensity can live side by side.
Georg Philipp Telemann – Duo Sonata in E minor, TWV 40:130
Telemann’s chamber music is full of clarity, intelligence and charm, but never static. His writing has a natural sense of movement, as if the music were always walking, dancing or speaking.
The Duo Sonata in E minor brings flute and violin into a beautifully balanced four-movement conversation. Grace, wit and lightness shape the work, yet beneath its elegance there is a constant sense of theatrical play. Ideas are exchanged quickly, characters shift, and the two instruments seem to enjoy each other’s company with effortless ease.
Wolfgang Amadeus Mozart – Duo in G Major, Op. 70 No. 1
arr. for flute and violin
Originally written for two violins, Mozart’s Duo in G Major adapts naturally to the pairing of violin and flute. The arrangement gives the music a new transparency: the flute adds brightness and air, while the violin brings warmth, lyricism and depth.
Mozart’s genius lies in making conversation sound spontaneous. Nothing feels forced, yet every line is perfectly shaped. The music moves with elegance, humour and balance, offering a graceful close to the first part of the journey: the world of classical dialogue, where beauty emerges through proportion and response.
Béla Bartók – Four Duos for Flute and Violin
arranged from the original duos
Bartók’s duos are short, concentrated musical worlds. Originally written for two violins and based on folk material from Central and Eastern Europe, they capture the character of songs, dances and village rituals in just a few gestures.
In this arrangement for flute and violin, the contrast between breath and string gives the pieces a new color. The music can feel earthy, mysterious, playful or almost dreamlike. Bartók does not treat folk music as decoration; he listens to its rhythm, its roughness, its directness — and transforms it into modern chamber music of remarkable precision.
Ross Edwards – Ecstatic Dances
Ross Edwards is one of Australia’s most distinctive contemporary composers, known for music that draws on nature, ritual, birdsong and luminous rhythmic patterns. Ecstatic Dances brings an Australian sound world into the program: bright, physical, trance-like and full of movement.
For violin and flute, the work becomes a meeting of breath and bow, pulse and atmosphere. The music seems to hover between dance and meditation, between the natural and the ceremonial. After the compact folk miniatures of Bartók, Edwards opens the space outward — toward light, landscape and ritual energy.
Irish Traditional Songs
selection curated by Hayley Bullock
The Irish traditional songs bring a deeply personal thread into the program. Curated by Hayley Bullock from her own collection of Irish melodies, this selection reflects her family heritage and her connection to a tradition where music carries memory, storytelling and emotional truth.
Irish airs and dances often hold joy and melancholy in the same breath. A melody can feel intimate and communal at once, simple in shape but rich in feeling. In this program, the Irish songs form a bridge between personal ancestry and shared musical experience — a moment where folk tradition becomes both memory and present-tense expression.
Pantcho Vladigerov – Sitno Horo, Op. 23 No. 3
arr. for flute and violin
Pantcho Vladigerov is one of Bulgaria’s most important composers, celebrated for bringing Bulgarian musical identity into the concert tradition with brilliance, color and sophistication.
Sitno Horo is driven by the asymmetrical rhythms and fiery energy of Bulgarian folk dance. In this arrangement for flute and violin, the piece becomes a virtuosic dialogue of precision, speed and rhythmic excitement. It adds a powerful Bulgarian voice to the program, connecting the concert’s folk journey to Dimitre Marinkev’s cultural roots.
Milko Kolarov – Scherzo
arr. for flute and violin
Milko Kolarov’s Scherzo is a sparkling miniature full of wit, motion and rhythmic clarity. Its playful character brings a sense of quicksilver energy, as if the music were constantly turning, teasing and changing direction.
In the flute and violin version, the piece feels light yet sharply defined. It offers contrast after the intensity of Vladigerov, continuing the Bulgarian thread with humour, agility and dance-like brilliance.
The Irish Washerwoman – Traditional Irish Reel
The Irish Washerwoman is one of the most recognizable and joyful Irish reels. Fast, bright and full of bounce, it brings the program toward a festive close.
After a journey through Baroque elegance, Classical clarity, modern folk transformation, Australian ritual energy and Bulgarian dance, this final Irish reel returns the concert to the spirit of communal celebration. It is music that belongs not only to the stage, but to gathering, movement and shared joy.
Waltzing Matilda – Australian Folk Tune
Waltzing Matilda offers a gentle return to Hayley Bullock’s Australian roots. Familiar, nostalgic and deeply embedded in Australian cultural memory, the melody becomes an intimate farewell.
After a program built around dialogue, heritage and movement across cultures, this encore closes the circle with simplicity and warmth — a song carried through the transparent voices of violin and flute.
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approximately 75–80 minutes
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Hayley Bullock | Violin
Dimitre Marinkev | Flute
In Memoria non est in mente
Music, Memory and the Sound of What Remains
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David Lewiston Sharpe – In Memoria non est in mente
~10–12 minutesDavid Lewiston Sharpe – Field of Reeds (Piano Trio)
~15–18 minutesDavid Lewiston Sharpe – Beautiful are the drinking doves
Sonata for Violin and Piano
~12–15 minutesSergei Prokofiev – Sonata for Cello and Piano in C major, Op. 119
~20–25 minutesDmitri Shostakovich – Piano Trio No. 2 in E minor, Op. 67
~27–30 minutes -
In Memoria non est in mente — Memory Is Not in the Mind is a program about how music remembers.
The title gives the evening its central idea. Memory is not only something we hold in our thoughts. It can remain in music, in a phrase that returns, in a sound world a composer leaves behind, and in the artists who continue to carry that music forward.
At the centre of the program is the music of David Lewiston Sharpe, whose recent passing gives the evening its personal meaning. Closely connected to the musicians of this concert, Sharpe was a composer of remarkable breadth, writing orchestral, chamber and vocal music while maintaining a lifelong engagement with literature, language and history. His works In Memoria non est in mente, Field of Reeds, and Beautiful are the drinking doves form the heart of the evening. Individually different in character, they share a distinctive voice: reflective, imaginative and deeply attentive to atmosphere, image and musical expression.
The program places Sharpe’s music beside two major twentieth-century works that also carry powerful personal histories.
Prokofiev’s Cello Sonata in C major, Op. 119 was written for Mstislav Rostropovich during a difficult period in the composer’s final years. Yet the work does not sound defeated. It combines broad lyricism with sharp turns of character, rhythmic vitality and moments of unmistakable wit. Its imagination is generous: serious, but never sombre; inward at times, but full of movement and life.
Shostakovich’s Piano Trio No. 2 in E minor, Op. 67 brings the program to its most concentrated emotional point. Written in memory of his close friend Ivan Sollertinsky and against the backdrop of wartime Europe, the trio unites private grief with historical tragedy. Its ghostly opening, severe passacaglia and fierce final dance give mourning a musical form of extraordinary directness.
Together, these works suggest that memory does not reside only in the mind. It can remain in sound, in interpretation, in artistic influence, and in music that continues to be performed long after its creator is gone. From Sharpe’s intimate voice to the broader human perspectives of Prokofiev and Shostakovich, the program traces the many ways in which music remembers.
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David Lewiston Sharpe – In Memoria non est in mente
The title In Memoria non est in mente — “memory is not in the mind” — gives the entire program its emotional key.
Composed as a personal and spiritual response to loss, the work suggests that remembrance does not live only in conscious thought. It exists beneath language: in resonance, in silence, in the body, in the way a sound disappears but continues to be felt.
Tender, suspended and haunting, the piece opens the evening as an invocation. It does not explain grief; it creates a space in which grief can be heard.
David Lewiston Sharpe – Field of Reeds
Piano Trio
Field of Reeds unfolds like a landscape of memory — fragile, spacious and full of atmosphere. Sparse textures, suspended harmonies and delicate gestures create a sense of distance, as though the music were moving through mist, ritual and recollection.
In this work, silence becomes part of the musical language. The trio does not rush toward resolution, but allows time to stretch and emotional space to open. Placed near the heart of the program, Field of Reeds becomes a central memorial landscape: a place where memory is not spoken, but breathed.
David Lewiston Sharpe – Beautiful are the drinking doves
Sonata for Violin and Piano
Beautiful are the drinking doves brings another side of Sharpe’s voice into the program: lyrical, intimate and hauntingly fragile.
The sonata moves between drifting songfulness and moments of inner disturbance. Its melodic lines often feel vocal, almost like distant folk memory or private lament. The violin and piano create a world of tenderness and unease, where beauty appears not as comfort, but as something delicate and vulnerable.
In the context of this concert, the work becomes a deeply personal conversation with the composer’s memory — a reminder of his poetic sensitivity and his ability to create emotional landscapes that remain long after the final sound.
Sergei Prokofiev – Sonata for Cello and Piano in C major, Op. 119
Prokofiev’s Cello Sonata in C major was written late in the composer’s life and carries a remarkable balance of warmth, lyricism and restraint.
Unlike the more openly dramatic or ironic side of Prokofiev, this sonata often speaks with a quiet humanity. The cello sings with a broad, almost vocal warmth, while the piano provides both tenderness and tension. Beneath the beauty of the music lies a subtle sense of introspection — as if joy, memory and unease were constantly held in the same breath.
In this program, the sonata becomes a space of human resilience. It does not deny darkness, but it searches for light within it.
Dmitri Shostakovich – Piano Trio No. 2 in E minor, Op. 67
Shostakovich’s Second Piano Trio is one of the most powerful chamber works of the twentieth century.
Written in memory of his close friend Ivan Sollertinsky during the Second World War, the trio moves through a vast emotional landscape: ghostly stillness, fragile song, grotesque dance, violence, irony and collapse. Its famous final movement, with its bitter dance-like character, remains one of the most unsettling conclusions in the chamber music repertoire.
As the closing work of this program, the trio becomes the emotional culmination of the evening. After Sharpe’s intimate world of memory and Prokofiev’s lyrical humanity, Shostakovich expands the perspective toward a larger reflection on loss, history and remembrance.
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~80 minutes
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Hayley Bullock | Violin
Dmitrij Gornowskij | Cello
Amir Tebenikhin | Piano
Handel and the Bachs
Three Musical Minds at the Turning Point of the Baroque
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George Frideric Handel (1685–1759)
Sonata in E minor, HWV 375
for traverso and harpsichordDuration: approximately 10–12 minutes
Carl Philipp Emanuel Bach (1714–1788)
Duet in E minor, Wq 123
for traverso and violinDuration: approximately 10–12 minutes
Johann Sebastian Bach (1685–1750)
Prelude and Fugue in F Major, BWV 880
from The Well-Tempered Clavier IIDuration: approximately 4–5 minutes
Johann Sebastian Bach (1685–1750)
Prelude and Fugue in F-sharp minor, BWV 883
from The Well-Tempered Clavier IIDuration: approximately 6–7 minutes
Carl Philipp Emanuel Bach (1714–1788)
Trio Sonata in D minor, Wq 145
for traverso, violin and harpsichordDuration: approximately 15–18 minutes
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Handel and the Bachs is a programme about encounter, contrast and transformation.
At first glance, the title suggests a meeting of three familiar names. Yet the deeper story is far more compelling: this is a musical portrait of the eighteenth century at a moment of change, when the grand architecture of the Baroque began to give way to a new world of emotional immediacy, personal expression and stylistic freedom.
George Frideric Handel and Johann Sebastian Bach were born in the same year, 1685, and grew up only a short distance from one another in central Germany. Yet they never met. Their careers unfolded along very different paths, and they came to represent two distinct possibilities within the Baroque tradition: Handel, the cosmopolitan dramatist whose music flourished across Italy and England; and Bach, the master of contrapuntal thought whose works brought German sacred and instrumental traditions to extraordinary depth and refinement.
Between them stands the next generation: Carl Philipp Emanuel Bach. Trained within the discipline of his father's world, he became one of the most original musical voices of the eighteenth century. Rather than rejecting tradition, he transformed it. His music speaks with unpredictability, sensitivity, wit and emotional directness, opening the door to a new aesthetic that would profoundly influence Haydn, Mozart and Beethoven.
The programme traces this evolution through a carefully chosen sequence of chamber works. Handel's sonata reveals the elegance, lyricism and rhetorical brilliance of the mature Baroque. The music of Johann Sebastian Bach represents its intellectual and artistic summit, combining expressive freedom with extraordinary structural clarity. The works of Carl Philipp Emanuel Bach point decisively toward the future, where music becomes more personal, more volatile and more openly expressive.
Performed on historical instruments, these works reveal a sound world of remarkable intimacy and colour. The traverso, violin and harpsichord do not simply recreate the past; they illuminate the musical language, gestures and expressive nuances that shaped this repertoire from within.
At the heart of the programme lies dialogue: between composers, between generations, between father and son, between tradition and innovation. The result is a concert that allows audiences to hear the eighteenth century not as a collection of fixed styles, but as a living period of invention, experimentation and transformation.
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George Frideric Handel (1685–1759)
Sonata in E minor, HWV 375
for traverso and harpsichord
Born in Halle and later celebrated throughout Europe, Handel became one of the defining musical figures of the eighteenth century. Although best known for his operas and oratorios, his chamber music displays the same gift for melody, character and dramatic expression.
The Sonata in E minor combines lyrical elegance with expressive depth. The traverso unfolds long, vocal lines supported by the clarity and harmonic richness of the harpsichord. Even in this intimate setting, Handel's instinct for drama and contrast remains unmistakable.
The work introduces one of the central themes of the programme: Baroque music as speech, gesture and communication — music that seems to breathe, persuade and respond.
Carl Philipp Emanuel Bach (1714–1788)
Duet in E minor, Wq 123
for traverso and violin
Carl Philipp Emanuel Bach occupies a unique place in music history. The son of Johann Sebastian Bach, he became one of the most influential composers of the generation that bridged the Baroque and Classical eras.
Written for two melodic instruments without continuo accompaniment, the Duet in E minor creates an unusually intimate musical conversation. Traverso and violin stand as equal partners, each voice exposed and essential.
The work exemplifies the empfindsamer Stil, or “sensitive style,” in which emotional shifts can occur suddenly and unexpectedly. Here music becomes deeply personal, revealing a composer already looking beyond the Baroque toward a new expressive language.
Johann Sebastian Bach (1685–1750)
Prelude and Fugue in F Major, BWV 880
from The Well-Tempered Clavier II
Johann Sebastian Bach's Prelude and Fugue in F Major offers a striking example of his ability to unite clarity, imagination and structural mastery.
The Prelude unfolds with elegance and confidence, while the Fugue demonstrates Bach's extraordinary command of contrapuntal writing. Multiple voices interact with remarkable balance and vitality, creating music that is both intellectually rigorous and deeply expressive.
Placed within this programme, the work stands as a testament to Bach's unique ability to reconcile freedom and discipline within a single musical language.
Johann Sebastian Bach (1685–1750)
Prelude and Fugue in F-sharp minor, BWV 883
from The Well-Tempered Clavier II
The F-sharp minor Prelude and Fugue reveals a more introspective side of Bach's musical world.
The Prelude unfolds with concentrated intensity, while the Fugue deepens the atmosphere through intricate contrapuntal development. Yet Bach's achievement lies not in complexity alone. His structures feel inevitable, transforming abstract technique into compelling musical expression.
Together with the Prelude and Fugue in F Major, this work forms the central axis of the programme and provides a powerful point of comparison with the more emotionally volatile language of Carl Philipp Emanuel Bach.
Carl Philipp Emanuel Bach (1714–1788)
Trio Sonata in D minor, Wq 145
for traverso, violin and harpsichord
The Trio Sonata in D minor brings all three instruments together and serves as the programme's culminating statement.
Here the traverso, violin and harpsichord engage in a vivid and often unpredictable musical dialogue. While traces of Baroque structure remain visible, the expressive language is unmistakably forward-looking. Sudden contrasts, emotional flexibility and dramatic gestures point toward a new musical age.
The work closes the programme by bringing its central themes into focus. Tradition remains present, yet it is constantly being reimagined. In this sense, Carl Philipp Emanuel Bach emerges as the crucial bridge between the world of Handel and Johann Sebastian Bach and the musical future that would follow.
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Programme duration: approximately 65–70 minutes
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