Ysaÿe • Hindemith • Prokofiev

Composers writing for solo violin inevitably look back to Bach, and further, to dance itself. This arresting collection follows the solo sonata from the 1924 E major Partita-inspired Ysaÿe sonata, through the breezy rigour of Hindemith’s works, to Martinon’s phantasmagoric modality. In Barkauskas’s Partita (1967), we can still glimpse Bach, but through irresistible asymmetric jazz rhythms and the whole gamut of violin techniques. Ilya Kaler, an explosive virtuoso, assaults the ears and compels with his sheer fluency.

Helen Wallace

Helen Wallace

Published: January 20, 2012 at 2:37 pm

COMPOSERS: Hindemith,Prokofiev,Ysaye
LABELS: Ongaku
ALBUM TITLE: Collection: Sonatas for Solo Violin
WORKS: Ysaÿe (Op. 27/2), Hindemith (Op. 31/1 & 2), Prokofiev (Op. 115)
PERFORMER: Ilya Kaler (violin)
CATALOGUE NO: 024-103 DDD

Composers writing for solo violin inevitably look back to Bach, and further, to dance itself. This arresting collection follows the solo sonata from the 1924 E major Partita-inspired Ysaÿe sonata, through the breezy rigour of Hindemith’s works, to Martinon’s phantasmagoric modality. In Barkauskas’s Partita (1967), we can still glimpse Bach, but through irresistible asymmetric jazz rhythms and the whole gamut of violin techniques. Ilya Kaler, an explosive virtuoso, assaults the ears and compels with his sheer fluency.

Helen Wallace

Helen Wallace

Artistic and Executive Director, Kings Place

Helen Wallace is the artistic and executive director of Kings Place, a concert hall in King's Cross, London, and the former editor of BBC Music Magazine and The Strad Magazine.
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