Verbier Festival - STEVEN ISSERLIS / RICHARD GOODE

Johann Sebastian Bach’s famous Suites for solo cello shouldn’t cause his three Sonatas for viola da gamba and harpsichord to be overlooked. In G major, flitting between contemplation and joy, the first adopts the four-part form of the so-called “da chiesa” (church) sonata.
Charming for its restrained, often rhapsodic character, Ludwig van Beethoven’s Sonata for Cello and Piano No. 4 dates from his so-called “late” period, when he was most emancipated from established forms. In fact, he marked at the top of the score, “Free Sonata”. This one-piece Op. 104 No. 1 is unusual in that it has no slow movement as such, but two slow introductions to its two energetic Allegro vivace.
Johannes Brahms composed his Sonata for Cello and Piano No. 2 during the summer of 1886, which he spent on the shores of Lake Thun. The first theme of the Allegro vivace is presented immediately by the cello, giving it an energetic and radiant character from the outset. This is followed by an Adagio affetuoso, a three-part Lied full of tenderness, and two Allegros, the first “passionato”, the second carried along by the gaiety of the folk tune he’s adopted: Ich hab mich ergeben (“I have surrendered”).

Ticketing at Gotham Coworking : 09am - 05pm
Rue de Médran 12, 1936 Verbier

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