Violin Piano

In celebration of Ralph Vaughan Williams's 150th anniversary celebrations in 2022, this album will give listeners a full insight into the composer's works for violin and piano, played by Midori Komachi (violin) and Simon Callaghan (piano), who are both internationally noted for their performances and research of 20th-century British music.

Stravinsky’s collaboration with the violinist Samuel Dushkin was a great artistic success, generating new works for the repertoire as well as arrangements of some of the composer’s most tuneful and popular works. Of these arrangements, Dushkin wrote that Stravinsky seemed ‘to go back to the essence of the music and rewrite or recreate the music in the spirit of the new instrument’. Reviewing the current performers in The Independent, Bayan Northcott writes that ‘these are no ordinary transcriptions. In reducing items from The Firebird or The Fairy’s Kiss to the violin and piano medium, Stravinsky rethought and respaced their every chord’.

Asked the question ‘How many sonatas for violin and piano did Johannes Brahms compose?’, many lovers of chamber music would probably answer three, and maybe also add their respective keys and opus numbers. When pressed, a number of them would also remember the so-called F.A.E. Sonata, a collaborative effort by the young Brahms, Albert Dietrich and their mentor Robert Schumann. But very few would probably think of the two Opus 120 sonatas, composed in 1894 for clarinet (or viola) and piano, but a year later published in the composer’s own version for the violin. As the range of the B flat clarinet goes a fourth lower than that of the violin, Brahms had been forced to make considerable revisions to the clarinet part – which in turned entailed changes in the piano part, and consequently the printing of a new piano score. The seasoned team of violinist Ulf Wallin and pianist Roland Pöntinen have now decided to record all the Brahms sonatas, and the results are being released on two albums, the first one including the first of the ‘official’ sonatas, No. 1 in G major, Op. 78, the F minor Sonata from Op. 120 and Brahms’s Scherzo from the F.A.E. Sonata. Wallin and Pöntinen round off the programme with transcriptions of two of Brahms’s more lyrical songs.