Join core musicians Nicholas DiEugenio and Jeffrey Grossman for an intimate recital centered around the violin and its Italian roots.
The violin rose to its position as the diva of the orchestra in Italy, especially as famous makers like Maggini, Guarneri, and Stradivari perfected its form with experiments in shape and size. From its humble street origins, the violin displaced popular solo instruments like the recorder and cornetto, and eventually became the core of the orchestra, a position it holds today. Our namesake, J.S. Bach, lived during the so-called golden era of the violin, the sixteenth to eighteenth centuries, when makers in Brescia and Cremona built some of the most prized violins. Composers across Europe studied the way Italian composers wrote for the violin—after all, that was its home country.
Bach’s respect and love for the violin is obvious in the way he writes for the instrument. His six sonatas and partitas for solo violin are among the greatest works for the instrument, and several of them show the strong influence of Italian music, using Italian dance forms like the corrente, allamanda, giga, and (most famously) ciaccona. Nicholas will perform one of these incredible solo suites in the stunning chapel at Brick Church, in addition to duo repertoire for violin and harpsichord.
Program
Giovanni Battista Fontana (?1589–?1630)
Sonata seconda from Sonate a 1. 2. 3. per il violino, o cornetto, fagotto, chitarone, violoncino o simile altro istromento (Venice, 1641)
Domenico Scarlatti (1685–1757)
Sonata in D minor, K. 64: Gavota. Allegro
Sonata in D minor, K.417: Fuga. Allegro moderato
Sonata in F major, K. 94: Minuet
Johann Sebastian Bach (1685–1750)
Sonata no. 3 in C major, BWV 1005 (Köthen or Weimar, c. 1720) from Sei Solo à violino senza basso accompagnato
Concerto in D major, BWV 972 (Weimar, 1713–14) after Antonio Vivaldi, RV 230
Giovanni Battista Somis (1686–1763)
Sonata in E minor, op. 1, no. 2 (Amsterdam, 1717) for violin and continuo
George Frideric Handel (1685–1759)
Sonata in A major, HWV 361 (?London, c. 1730) for violin and continuo
Performers
Nicholas DiEugenio
violin
Jeffrey Grossman
harpsichord
Safety and COVID-19
The safety of our performers, staff, and audience are of the utmost importance to us. As the COVID-19 pandemic continues to evolve, we will closely monitor local conditions as concerts date draw near. We reserve the right to require proof of vaccination, masking, and distance inside the concert hall. We will announce our safety procedures for each concert in advance of the performance date.
By purchasing a ticket and attending a concert, you acknowledge that despite all reasonable precautions, there are risks in attending live musical events and you agree to accept those risks yourself. You release the Sebastians (legally, Sebastian Chamber Players, Inc.) from any claims based on your attendance of one of our concerts. Your in-person concert ticket grants you access to the virtual concert experience—available shortly after the performance. If you have any questions or need assistance, we are always reachable at music@sebastians.org.