BEETHOVEN SONATAS FOR VIOLIN AND PIANO NOS. 1 - 3

Classical and Modern Music

Format: Digitalno + CD

Code: 117626

EAN: 3838898117626

Ludwig van Beethoven (1770–1827) wrote ten sonatas for violin and piano. Three of them are collected in Op. 12, written in 1797 and 1798. Beethoven referred to them as traditional sonatas for piano with violin, but this should not be taken literally, as the two instruments are already clearly individualised and their role becomes increasingly soloistic, while remaining closely intertwined in terms of harmony and melody.

Beethoven dedicated the sonatas of opus 12 to his former teacher Antonio Salieri, who was the Kapellmeister at the imperial court in Vienna. However, they were not well received by critics, who accused the composer of strange modulations, artificiality and academicism.

The first movement of Violin Sonata No. 1 in D Major, Op. 12 No. 1, Allegro con brio, contains extensive thematic material and a carefully designed tonal plan with thoughtful, bold and unexpected tonal solutions, which is probably what gave rise to the lack of comprehension among critics. Instead of a ternary A-B-A Adagio or Andante, which was traditionally the second movement in the classical sonata, Beethoven inserted a set of variations in the dominant key of A major. The design of the theme and four variations was based on established norms, but in the second half of the third variation the composer allowed himself a degree of experimentation with the reworking of the theme, thus again ignoring traditional expectations. In the concluding Rondo, the central theme is built on a series of arpeggios. Each statement of the theme is different, with the final fragmented appearance serving as a kind of coda.

Although Beethoven dedicated the sonatas of opus 12 to his former teacher Antonio Salieri, Violin Sonata No. 2 in A Major, Op. 12 No. 2 is above all a tribute to Joseph Haydn. In many places, this beautifully crafted work with its sophisticated humour evokes the memory of Haydn, with whom Beethoven had studied between 1792 and 1794. Based on classical rules, it is joyful in character with a distinctive buffo charm. Although the piano takes centre stage, the violin has many moments of brilliance as well. The opening Allegro vivace is in traditional sonata form, with Haydn’s influence being clearly evident. Both the harmonic and the rhythmic dimensions are lively and full of surprises. The second movement, Andante più tosto Allegretto, is not a slow movement as tradition would dictate. Composed in the key of A minor, it is more serious and expressive than the two outer movements in A major. Although the main theme is presented in the piano, Beethoven treats both instruments equally. The theme is subsequently passed to the violin and masterfully developed. The concluding Allegro piacevole is a relaxed rondo with a pastoral character. As the title suggests, it is a joyous, light and warm-hearted movement.

Violin Sonata No. 3 in E-Flat Major, Op. 12 No. 3 is more serious in character than the other two works in the opus. It is known for its tranquil central movement, which is profound and emotional. In the first movement, Allegro con spirito, the emphasis is on the virtuoso piano part rather than the violin part, which mostly accompanies the piano, and all of the most important material is introduced by the piano. The second movement, Adagio con molt ‘espressione, is one of the most beautiful pieces from Beethoven’s early creative period, with its long, cantabile principal theme being passed between the two instruments. Particularly prominent is the central section, in which a poignant melody unfolds in the violin over gentle murmuring in the piano. The final movement, Allegro molto, is a rondo. The piano and the violin slowly travel a common path, alternately supporting each other: as one instrument takes on the theme, the other accompanies it, and vice versa.

Since her debut with the Mariinsky Theatre Orchestra under Valery Gergiev in 2012, Lana Trotovšek appeared with some of the world’s finest orchestras –the Moscow Soloists, the London Symphony Orchestra, the Royal Philharmonic Orchestra the RTS Symphony Orchestra. In 2016/17 Lana performed double violin concertos with Sergey Krylov and the Lithuanian Chamber Orchestra on a number of occasions. Over the past few years Lana has collaborated with Tan Dun and Orchestra Teatro Verdi, the Shanghai and Slovenian Philharmonic, as well as Uroš Lajovic and the Sarajevo Philharmonic Orchestra, the RTV Slovenia under George Pehlivanian, the Kalamazoo Symphony Orchestra, and the Chamber Orchestra of Philadelphia, where she was described as “an emerging voice to watch” by Philadelphia Inquirer

In summer 2017 she was touring with John Malkovich and I Solisti Aquilani, performing Bach’s A minor violin concerto in festivals Emilia Romagna, Ljubljana, and Mittelfest. In January 2020 her schedule included the BBC 3 live recording of a Violin Concerto “Venus Blazing” composed by Deirdre Gribbin with the Ulster Orchestra in Belfast. In 2020, for the 250th Anniversary of L. van Beethoven, Trotovšek give performance of the complete sonatas for violin and piano with pianist Maria Canyigueral at the Festival Ljubljana.

Her discography includes chamber music and concerto releases by Toccata Classics, SOMM recordings, Meridian records, Hedone records, Signum records, Champs Hill records, Ustanova Klasika and Kalamazoo Symphony Orchestra. In 2016 she was awarded the Global Music Awards gold medal for her CD Franck, Granados, Škerjanc, Finzi and her latest CD release by Toccata Classics includes first recordings of the Czech – Russian romantic composer Eduard Napravnik.

Between 2006 and 2011, she was a member of the Greenwich Piano Trio with cellist Stjepan Hauser and pianist Yoko Misumi. They won the Solti Foundation Award, The Tunnell Trust Award and other first prizes in chamber music competitions across Europe. They were guided by the Beaux Arts Trio cellist Bernard Greenhouse and pianist Menahem Pressler as well as Stephen Kovachevich.

Violinist Lana Trotovšek has won admiration for her expressive playing and unique musicality. The Washington Post has described her as “Radiant” and praised her “clean, refined tone with musical sense of phrasing and impeccable intonation”. The Strad Magazine has mentioned her “true feel of live intuitive performance”. She has captivated audiences with her ‘warm sound and formidable technique’ (La Vanguardia) and her talent of bringing ‘freshness, depth and insight’ Broad Street Review to her interpretations.

Trotovšek was born in Ljubljana, Slovenia, to a family of musicians. At the age of 4, she began playing the violin under the guidance of Majda Jamšek. When she was 17 years old, her talent was recognised by Ruggiero Ricci at the Dartington International Summer School in United Kingdom who then invited her to his class at the Academy Mozarteum in Salzburg. During this period, she also continued her studies at the Academy of Music, University of Ljubljana with Volodja Balžalorsky and Primož Novžak. In 2005, her performance of the Khachaturian Violin Concerto with the Slovenian Philharmonic Orchestra under George Pehlivanian was awarded with the Prešeren Award of the Ljubljana University.

Trotovšek continued her studies at Trinity College of Music with Vasko Vassilev, Boris Brovtsyn, and Rivka Golani, and at the Royal College of Music with Itzhak Rashkovsky, winning many prizes. Between 2011 and 2013, she was the first violinist of the Badke String Quartet, winners of the Melbourne International Chamber Music Competition.

Lana Trotovšek is the recipient of the 2021 Prešeren Fund Award of the Republic of Slovenia, which she received for her achievements in the past three years. She lives in London and is a Professor at the Trinity Laban Conservatoire of Music and Dance. She maintains close ties to her home country where she performs regularly and is a visiting Professor at the Academy of Music in Ljubljana. She plays a 1750 Pietro Antonio dalla Costa violin.

Maria Canyigueral has been described by La Vanguardia as 'a pianist of great personality'.

One of the leading lights among the new generation of Spanish pianists, Maria Canyigueral has inspired collaborations with outstanding contemporary Spanish composers such as Antón García Abril, Benet Casablancas, Joan Magrané, Josep Maria Guix and others. Her partnership with Antón García Abril has been particularly successful, attracting high praise from critics and audiences both in Spain and the UK. Antón García Abril has written 'Reverberaciones' for Maria's 'Avant-guarding Mompou' project and 'Hoy es siempre todavía' for her Horn trio. Having spent her formative years between Spain and the UK, she has since attracted a devoted following of her worldwide concert itineraries.

Having completed her undergraduate studies at the Conservatori del Liceu in Barcelona with Michel Wagemans, she later attained a Master of Arts in Performance from the Royal Academy of Music in London, studying with Sulamita Aronovsky. She has also received musical advice from Nino Kereselidze and André de Groote. Maria Canyigueral’s name soon became a fixture of the international piano circuit, embracing Spain, the UK, Japan (Tokyo, Nagoya), Belgium and other countries. Recent solo highlights include a performance as part of the composition seminar by Benet Casablancas at the Royal Academy of Music, London; appearances at the Festival Portaferrada, Schubertíada Vilabertran and Festival de Música de Cervia, all in Girona; piano recital at Ateneu Barcelones, Barcelona; several recitals in Zulte, Belgium; and a performance at the Echoes Festival, St. James Picadilly, London.

In addition to her live performances, Maria has made an impact with her recordings of chamber music. She won the Gold Medal at the Global Music Awards in California for her album of works by C. Franck, Granados, Škerjanc and Finzi, recorded with violinist Lana Trotovšek (Hedone Records, 2016). A recording with flautist Boris Bizjak, of works by Martinu, Poulenc, Fauré and Böhm, was also released by Hedone Records in 2016.

A prizewinner in several International Competitions, including the Ile de France International Piano Competition (Paris); the Pirani Piano Trio Prize with Ianthe Ensemble (London) and International Chamber Music Competition Antón García Abril (Granada), Maria has lately been working with internationally known composers on her own project ‘Avant-Guarding Mompou’. This was premiered at Conway Hall, London in June 2018 and featured contributions from Nicolas Bacri, Antón García Abril, Joseph Phibbs, Konstantia Gourzi, and Moritz Eggert. The project was a coproduction with Instituto Cervantes, Arts Council England, Institut Ramon Llull, Fundació Mompou and fashion label Lilly e Violetta. Soon to be released on CD on the Audite label.

Having now been a touring artist for many years, Maria Canyigueral had international performances including a solo piano recital at the Palau de la Música Catalana, Barcelona in 2019. A return appearance in Duo with Lana Trotovšek followed in London’s Wigmore Hall in the Summer of 2019, featuring sonatas by Beethoven, Prokofiev and a work by Slovenian composer Lucian M. Škerjanc. Both artists returned as a Duo to Wigmore Hall in February 2021.

Further highlights include a performance in trio with cellist Sebastien Hurtaud and violinist Lana Trotovšek at the Blackheath International Chamber Music Festival.