This program brings together three works that represent distinct stages in the evolution of the violin–keyboard duo. Bach’s sonata reflects the Baroque sonata da chiesa tradition and the emergence of contrapuntal equality between the instruments. Brahms’s sonata embodies a mature Romantic synthesis of structural discipline and expressive depth. Schnittke’s suite, in turn, offers a contemporary reinterpretation of historical genres. Presented together, these works form a three-century panorama of chamber music, spanning from Baroque architecture to postmodern stylistic reflection.
J. S. Bach — Sonata No. 3 in E major for Violin and Harpsichord, BWV 1016
The third sonata of the BWV 1014–1019 cycle represents the sonata da chiesa model and exemplifies Bach’s mature duo writing, in which violin and harpsichord engage as equal contrapuntal partners. Its four-movement architecture provides structural clarity, while the slow movements stand out for their distinctive expressive depth.
J. Brahms — Violin Sonata No. 3 in D minor, Op.108
Brahms’s final violin sonata combines dramatic scope with concentrated motivic and textural writing. The four-movement cycle balances expressive intensity with formal precision; the tension between the impassioned outer movements and the lyrical inner sections reflects the composer’s late style.
A. Schnittke — Suite in the Old Style (1972)
This neo-stylistic work reinterprets Baroque and Classical dance-types through a contemporary idiom and Schnittke’s characteristic stylistic play. Its transparent textures and subtle theatricality transform historical references into a distinct modern expressive palette.