Utwory na płycie:

• Sonata for Solo Violin, Sz 117 - I. Tempo di ciaccona
• Sonata for Solo Violin, Sz 117 - II. Fuga - Risoluto, non troppo vivo
• Sonata for Solo Violin, Sz 117 - III. Melodia - Adagio
• Sonata for Solo Violin, Sz 117 - IV. Presto
• Violin Sonata in D Major, Op. 115 - I. Moderato
• Violin Sonata in D Major, Op. 115 - II. Andante dolce. Tema con variazioni
• Violin Sonata in D Major, Op. 115 - III. Con brio. Allegro precipitato
• Sonata for Solo Violin No. 2, Op. 27/2 - I. Obsession
• Sonata for Solo Violin No. 2, Op. 27/2 - II. Malinconia
• Sonata for Solo Violin No. 2, Op. 27/2 - III. Danse des ombres
• Sonata for Solo Violin No. 2, Op. 27/2 - IV. Les Furies
• Sonata for Solo Violin No. 3, Op. 27/3 - Ballade

Bela Bartok:
Sonata for Solo Violin, Sz 117

Sergei Prokofiev:
Violin Sonata in D major, Op. 115

Eugene Ysaye:
Sonata for Solo Violin, Op. 27/2
Sonata for Solo Violin, Op. 27/3

Franziska Pietsch’s recent recording of the Prokofiev Violin Concertos with large-scale orchestra is followed seemingly by the opposite: works for solo violin. What appears, at first sight, to be a contrast is in fact a logical continuation of her extensive discography, even an enhancement: whilst in her previous releases, Pietsch demonstrated her expressive range and intensive approach both as a brilliant soloist and as an eloquent chamber musician, she now faces the greatest possible reduction, namely a solo recital. This limitation demands incredible presence, power and intensity, for which Franziska Pietsch is predestined. From isolation, she draws depth and grounding; “less” becomes “more”; soleness transforms into greatness.

For her solo recital, she has put together an individual choice of compositions which have accompanied her from an early age and which, for her, represent significant personal and artistic experiences. Prokofiev, to whose works she feels a particular affinity, is also featured here.

Once again, Franziska Pietsch displays a compelling combination of technique and interpretation: her irrepressible creative force penetrates all technical challenges, never losing sight of her interpretation, every note forming part of her reading – a deeply personal recording of the solo sonatas by Bartók, Ysaye and Prokofiev.

Bartók’s solo sonata, written for Yehudi Menuhin in 1944, and the six sonatas Op. 27 by Ysaye are amongst the most prominent twentieth century compositions for violin. Bach, the great paragon, is present in all these works. From Ysaye’s cycle, Pietsch has chosen the particularly striking Sonatas Nos 2 and 3 which are dedicated respectively to the violinists Jacques Thibaud and George Enescu. As an “encore” she plays the solo sonata Op. 115 by Sergei Prokofiev which had been intended for ambitions violin students. Transcending its original purpose, however, this compact work is a small stroke of genius.

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Recording: Jesus-Christus-Kirche, Berlin-Dahlem, July 23 - 25, 2018. Franziska Pietsch plays a violin by Carlo Antonio Testore (Milan) of 1751.